#because it really reveals how much of someone's appreciation for a show itself is influenced by specific interpretations of it

[supercantaloupe]

i do think a don giovanni production bracket specifically would still be a fun idea. cause then everyone involved is at least starting from the same place of Liking The Opera In Question

[castlebyersafterdark]

https://www.tumblr.com/will80sbyers/761602875308834816/link-for-whos-interested?source=share

i really want to know what you think of this. i still don't think i have a preference either way, because i want to wait to see what the show says. i think it's great that this user (and you!) arent defensive about whats correct but still have a strong opinion.

i noticed in this slideshow that whats possible for bi people (attraction to the same sex etc) could also be viewed for gay people similarly. for example, it's possible for homosexual people to have opposite sex attractions and relationships. so saying mike has had these does not show that he either is or isn't gay or bi... does it?

i think things must be inferred through how emotion is played in the show, subjective feeling (as so much emotion of all kinds is). this isnt really quantifiable so i always lean towards it not mattering what sexuality mike is until the writers decide it matters - i.e. reveal it in s5, either subtextually or explicitly. if they dont reveal it, it never mattered to the story or character to be specified.

i also think it's interesting that this user thinks its love, not sexual attraction, that is the differentiator between what makes someone heterosexual or queer. would you agree?

I have to be honest and when I saw 300+ slides in that presentation - not reading all that for an interpretation I don't and won't subscribe to hahahaha. Kinda very briefly skimmed it. It's fine. It's a huge fandom with very diverse mindsets. I love a lot of theories and analysis and I dislike a lot of them and others it's just... meh. I feel nothing. I appreciate the dedication and passion over that presentation, but I feel nothing 😌

I really do say, to each their own and we can interpret characters however we want and if Mike is bi at the end of the show, so be it. I'll be disappointed over my read and interpretation being incorrect. It's not a dislike or disappointment over bisexuality itself, it's just that acknowledgement of having been wrong and having your analysis cracked open. I can admit that. This is how I view this character. It's not being defensive, per se - just that why can't we just enjoy our interpretations and let it be? I don't really want to argue and outline my reasons like that slideshow hahaha because it just... it's what I think and want to think! One person's thought does not negate another's thought. Neither party here is writing the show. We have no influence! Nothing we can do in our heads or on our blogs will change the show so I never see why people fight too much - we don't need to convince people about the opposing read of a character. I don't care that there are militant Mlvns still insistent out there. What do I care if people still ship it and will still ship it regardless of the outcome of the show? The show is the show. Our blogs and brains are independent of that. We can do/think what we want. No influence, no control.

Unrelated, but it's like people getting upset over the existence of spicy/explicit content. No amount of getting mad and vocal about your dislike of it is going to stop others from thinking about it and liking the content. They nuke tumblr and twitter and ao3 and there's no outlet to talk and share our smutty works? You the repressed fandom cop is happy there's no longer smut of your favorite show online? Hate to break it to you, but they're still fucking nasty in my head. A lot. You can't take away an idea. I'm really rambling hahaha.

If Mike is not gay at the end of the show - I'm still labeling him that way in my Byler works. Because what does it matter then as you say? Transformative exploration of fanfiction. Invested too much mental capacity to the idea. So, it's important to know what you're getting on my blog.

for example, it's possible for homosexual people to have opposite sex attractions and relationships. so saying mike has had these does not show that he either is or isn't gay or bi… does it?

Totally!! To a point. Plays into how you interpret the show. I think a point was made "Mike doesn't have internalized homophobia" but, well we don't know that yet? He probably does. We're interpreting that and will see in the show. But there's nothing to say he doesn't? I mean, he's young, he's a teenager, if he's gay and exclusively wanting to be with guys deep down - well, that part of him might be something he doesn't want to acknowledge even if he really cares for a girl. Confusion on platonic vs romantic is a big element. He thinks he should be with a girl. Society. Other influences. That's part of the point, arguments for both sexualities. This is personal and I won't get into toooo many details, but before I met him, my man was with a woman for many years before he eventually came out as gay. That's reality for a lot of people. Sexuality is COMPLICATED!!!!!

I've talked about it before, but I knew I was gay and yet, I dated girls in high school. To shield, to have somebody. The youthful difficulty of navigating friendship/romance. Me dating a girl in HS: "Sure! This benefits me for multiple reasons." Was it a great mindset and behavior? No, but give grace to teenagers who are confused and scared. That can also be Mike. His situation is just very, very dramatic with outside forces beyond the norm. His situation has at times been life or death.

Fiction is a great way to explore things!!

i also think it's interesting that this user thinks its love, not sexual attraction, that is the differentiator between what makes someone heterosexual or queer. would you agree?

Hmmmmm - no?? Maybe I'm confused. Why would that be a differentiator? Because every sexuality can feel love and/or sexual attraction to their preferred type of person. And then can feel love for anyone regardless of orientation. Love =/= sex. But attraction and desire makes up sexual orientation. I'm not gay only because I love men - I'm gay because I want to have sex with men. There are women and men I love and I don't feel attraction to them. There are men I'm attracted to and don't love. Love =/= falling in love or being in love and that's the difference that gets jumbled and/or need to be worked out sometimes. And falling in love/being in love isn't completely to do with sex - but that's the catch, right? That's what lies on the human to figure out themselves. Not easy to sit here and define it with rigid peramiters and labels.

Otherwise, maybe I'm missing something from that statement...

[armenelols]

There isn't enough appreciation for Elrond's and Isildur's friendship.

I think much of this comes from the movies, where our only image of Isildur is his 'no' and Elrond yelling 'Isildur!', and then we see him die because he dives into the river while running away from a battle because the One Ring falls from his finger. Sure, there is some scroll Gandalf reads, but it only makes Isildur seem even more obsessed with the Ring than he already seemed. Add to that Aragorn's rambling about how he and Isildur share blood and weakness and you've got the perfect receipt for evil Isildur and 'cast it into the fire' memes.

Movie!Elrond's 'men are weak' really isn't helping.

So to start with, I think it is necessary to say that I am talking about book!Elrond and book!Isildur here, and while I don't recall either of them calling the other friend, it's a headcanon I have and it is to some extent supported by the books.

In the chapter The Disaster of the Gladden Fields in Unfinished Tales, Isildur shares a few exchanges with his son, Elendur, that I would like to show here.

Elendur went to his father, who was standing dark and alone, as if lost in thought. 'Atarinya,' he said, 'what of the power that would cow these foul creatures and command them to obey you? Is it then of no avail?'

'Alas, it is not, senya. I can not use it. I dread the pain of touching it. And I have not yet found the strength to bend it to my will. It needs one greater than I know myself to be. My pride has fallen. It should go to the Keepers of the Three.'

And later in the chapter:

'My king,' said Elendur, 'Ciryon is dead and Aratan is dying. Your last counsellor must advise, nay command you, as you commanded Ohtar. Go! Take your burden, and at all cost bring it to the Keepers: even at the cost of abandoning your men and me!'

'King's son,' said Isildur, 'I knew that I must do so; but I feared the pain. Nor could I go without your leave. Forgive me, and my pride that has brought you to this doom.'

Earlier in the chapter, we also get this passage talking about Isildur:

When he at last felt free to return to his own realm he was in haste, and he wished to go first to Imladris; for he had left his wife and youngest son there, and he had moreover and urgent need for the counsel of Elrond.

Nearer to the end of the chapter, when talking about Isildur's death, Tolkien writes this:

There suddenly he knew that the Ring had gone. By chance, or chance well used, it had left his hand and gone where he could never hope to find it again. At first so overwhelming was his sense of loss that he struggled no more, and would have sunk and drowned. But swift as it had come the mood passed. The pain had left him. A great burden had been taken away. There he rose up out of the water: only a mortal man, a small creature lost and abandoned in the wilds of Middle-Earth. But to the night-eyed Orcs that lurked there on the watch he loomed up, a monstrous shadow of fear, with a piercing eye like a star. They loosed their poisoned arrows at it, and fled.

And last from this chapter, this bit about the Ring itself:

It was little more than two years since it had left his [Sauron's] hand, and though it was swiftly cooling it was still heavy with his evil will, and seeking all means to return to its lord.

So what does this tell us? And in addition, where was I coming to with Elrond & Isildur friendship?

1. For all of Isildur's refusal to give up the Ring after the war ended here:

'Alas! yes,' said Elrond. 'Isildur took it, as should not have been. It should have been cast then into Orodruin's fire nigh at hand where it was made. But few marked what Isildur did. He alone stood by his father in that last mortal contest; and by Gil-galad only Círdan stood, and I. But Isildur would not listen to our counsel.

' "This I will have as weregild for my father, and my brother," he said; and therefore whether we would or no, he took it to treasure it.

- The Council of Elrond, Fellowship of the Ring

Isildur realized he was wrong. The Ring was still at its most evil, and it wanted to corrupt him, it wanted to go back to Sauron, yet Isildur resisted enough to be able to almost give up the Ring willingly or at least consider it.

When he was slain, he was already taking the Ring to Elrond. Whether he would have the strength to do it later, he resisted the Ring enough to at least consider it. How many would be able to do so? Of course, there was the factor of the very touch of the Ring paining him, but compared with the Ring's will, that's hardly enough to convince a man to give it up.

And at last, when the Ring slipped from his finger, he did not dive after it. He gave it up, and swam away; and even as the orcs killed him, they killed him a free man.

2. He was bringing the Ring to Elrond. At the very beginning I said this post is about Elrond's and Isildur's friendship, and finally, I am talking about it.

It should go to the Keepers of the Three, Isildur says of the Ring - and for that, he would have to know who the Keepers are, or at least know of someone who knows. And it is said repeatedly that he seeks Elrond's counsel, that he goes to Imladris; did he know Elrond has Vilya?

The location of the Three is one of the greatest secrets kept from Sauron, and it is said many times that almost no one knew of it. Did Isildur know, suspect? In addition to this, Elendur seems to have the same knowledge, which, as he is repeatedly called Isildur's greatest confidant, isn't much of a wonder.

All in all, Isildur either connected the dots well enough to realize that out of all high elven lords, it is Elrond bears a ring of power (and Isildur is clever, this is a possibility); or Elrond was not careful enough and Isildur figured it out from his missteps (which, considering Elrond's experience with cursed jewellery isn't very likely); or Elrond gave him hints on purpose; or he just. Straight up told him.

The last two options seem to be most likely to me, which brings me to Elrond trusting Isildur enough to reveal such a secret to him, which leads me to my Elrond and Isildur are friends agenda.

Should the first option be true, props to Isildur for figuring it out by himself without any clues from Elrond other than him being important. Should Isildur be bringing the Ring to Elrond in hopes that Elrond knows who the Keepers of the Three are, without knowing Elrond is one of them, it still shows Isildur trusted Elrond enough to bring him the Ring even for temporary keeping.

(there is also the matter of whether Isildur knows the other Keepers of the Three, as he mentions them a few times, but never enough to indicate if he knows who they are)

3. Parallels. It is said that Elendil and Gil-galad, the two high kings of their people are friends. Is it really so unlikely that Elrond, Gil-galad's herald (and possibly heir, even though he took no crown), and most trusted advisor besides Círdan; and Isildur, the heir of Elendil the Tall and his second in command, would strike a friendship?

The Isildur we are presented with is both bold and wise - he saves the fruit of the White Tree of Númenor alone because it needs to be done, and then he does it again, and he does it because it's the best for his people. He takes the Ring, and tries to make it listen to him, and realizes he made a mistake; he tries to fix it, and wants to bring it to Elrond.

The Isildur we are presented with has courage, and wisdom, and hope.

Do you know what does this remind me of?

Edain. Their ideals. The reasons why they got the gift of Númenor, greater wisdom, longer lives.

They resisted the evil, no matter how strong; they were loyal, true to their beliefs, brave and courageous.

Elros was chosen as the king of the Edain and really, I highly doubt Edain would choose him as a king just because of his heritage, or because someone told them to do so. Sure, someone could have pointed out Elros to them and say 'hey, look at this dude, he could be a nice king, what do you think?' but in the end, while they might start following Elros because someone else told them, I doubt they would let themselves be led by someone who wasn't the best representation of them. In Athrabeth Finrod ah Andreth, Andreth does not shy away from telling Finrod her beliefs, the beliefs of her people. And I don't think that changed with time.

What am I trying to say? I think Elros and Isildur were both similar in many ways, in ways that made them the leaders they were - and that in a way, Elrond saw Elros in Isildur, as well as himself; for Elrond still connected strongly with his mortal kin, and as I mentioned earlier, their political positions were similar.

And while Isildur was his own person and had done things neither Elros or Elrond would have done, and had his own good and bad qualities, it doesn't erase the similarities.

4. Aragorn was raised in Rivendell, by his mother and Elrond and his people. Of all the people there, it is easy to see which ones would influence him the most: Gilraen, Elrond, Elladan, Elrohir. It is repeatedly shown how close he was to them. To some extent we may include Glorfindel, for they were friends, but not as much as the above mentioned four.

Now, as Estel, he wasn't aware of his heritage. He is shown to be proud of his heritage, of his descend from Isildur; and yes, this could be a simple pride in one's ancestors. It could have been that he simply liked Isildur as a historical legendary figure and it became greater after he learnt of his descend from him. Or it could have been that he was told many tales of Isildur, of his deeds and personality, and his family, and decided I want to be like him, and like Elendil, even without knowing he was in any way related to them.

And really, when it comes to the above-mentioned people, who would be the most likely to tell him stories of Isildur? Gilraen who only knew him from stories, or Glorfindel who was never mentioned around Isildur in the books, or Elladan and Elrohir, born after Isildur's death, who could have any number of first-hand stories about hundreds of Aragorn's cool ancestors but not Isildur himself?

All I am saying is there is a potential for Elrond to be telling stories of his old friend Isildur and Elendil and Gil-galad to Estel, and Estel loving them.

There is also the fact that in the chapter The Disaster of the Gladden Fields, Elendur, Isildur's son, is said to be very similar to Aragorn. And I love the idea of Elrond's and Isildur's sons paralleling each other, in a strange way, thousands of years apart.

5. In the books themselves, we do no see Elrond speaking about Isildur much. (I checked almost every mention of Isildur in most of my Tolkien books. So yeah.) On the Council of Elrond, Elrond talks about Isildur the most, but it is mainly in historical manner and 'the Ring should have been destroyed that day' manner, as you can see in the passage from the book I mentioned above in point 1.

This doesn't tell us much about their relationship, much less their friendship - and thus as a source for my image of them as friends, I give the place to The Disaster of the Gladden Fields, thinking they would make a good duo, and the potential of how Isildur's death may have had affected Elrond.

Isildur's death was unexpected. No one expected the road not to be safe - there is a reason why Isildur and his men were unprepared for a battle. They were simply journeying on a familiar road, to Rivendell and then Arnor. Not even the Orcs that ambushed them knew of the Ring. In Rivendell, they learnt of what happened only thanks to Ohtar, Isildur's squire who survived; and even then, the specific circumstances of his death were not revealed until Aragorn found Elendilmir and the chain which bore the Ring among Saruman's things.

In all honesty, I don't think even Elrond knew Isildur planned on giving him the Ring. I do not doubt he expected him, for his wife and youngest son were in Imladris - but I found no reason as to why he might know of Isildur's plans with the Ring.

That could give him a reason to speak ill of Isildur, couldn't it? Yet when he speaks of him, he only speaks of facts and what should have been done - he doesn't call Isildur too weak to give up the ring, or power-hungry, or proud - and by the latter, Isildur calls himself several times (as can be seen here, in the passages I used above)

It needs one greater than I know myself to be. My pride has fallen.

And here:

Forgive me, and my pride that has brought you to this doom.

And yes, it was a formal Council - Elrond had no reason to speak of his personal feelings towards Isildur. Yet I think the little he said reflects his thoughts well. He might have felt some bitterness towards him, especially as he later learnt what the Ring's nature truly was; and especially as he had no knowledge of Isildur being willing to give the Ring to him, for better or worse, whether he would find the strength to do so or not.

Still, once Elrond learnt of the Ring's Nature, I think he might have understood Isildur better - especially as he himself did not dare to even touch the Ring.

[noodlepai]

(OKAY okay so I've come to provide more information on the AU, I'm still working on it a lot so things might change or be added but I got a basic idea of what things are like rn !!)

Info dump moment rn, also TW for slight trauma mentions/hints

• Sam had managed to save the Wii from melting itself all those years ago, and is a pretty big person on tech, so she likes to experiment and try new things, and actively tries to help Eteled out or transfer him through devices so he isn't just stuck in one place all the time, with lots of trial and tons of error, especially since she knows the Wii's getting old and that it can be unstable occasionally with glitches

• Kyle has also taken a liking to learning more about technology through Sam's influence so he sometimes comes over and they both will just study and brainstorm ideas

• Sam moved out of her home and now lives in her own apartment, is in college to pursue her dream of working around and creating technology, hasn't really considered making a job out of it since she mostly does it for fun and likes to achieve her dream goals, Nathan and Kyle also occasionally visit to just hang out and do whatever, usually resulting in the three staying up very late into a movie or game night, and Eteled having to talk Sam into getting sleep for the next morning

• Even though Sam is big on all tech, consoles and video games, she still has a soft spot for old generation consoles in particular

• Sam, Nathan and Kyle had all gotten pretty close growing up so they're like a dumbass trio /lh

• Will moved out of state or some shit

• Kyle wakes up from his villain arc and makes a truce with Eteled /J.. FR though Kyle softens up and becomes more understanding of Eteled's side after they start talking it out, while what happened did bother him at the time all those years ago, he just kinda grew up to the point where it didn't have such of an effect on him anymore, I mean all he saw was a Mii get slice and diced, no need to go beast mode over it, so they forgive each other of the past

• Kyle and Nathan are besties to homosexuals, homie love

• Sam made a Mii of herself from when she was younger to keep Eteled company when going out or having to attend school, Eteled appreciated it but wouldn't wanna admit how it wasn't the same and about how much he would miss Sam when she had to get off the Wii

• Gives Eteled abandonment issues because I love being evil

• He's actually clingy on the inside but would never admit it to anyone

• Also views Sam as a sort of daughter figure besides just a friend but is too nervous to mention it, he wants Sam to be safe, loves whenever she talks or rants to him about anything or shows him something she made or is proud of, or even just anything at all, father Eteled is proud of his child/bestie

• He like, genuinely feels loved around her and would definitely cry about it but would never show it, or at least try not to

• Eteled has the favorite Mii pants because Sam put them on him, with quote "I think it's about time my best friend gets to rock a new style", and yes it did make him almost cry on the spot

• Austin is like, mentally conflicted as hell

• Austin and Eteled both feel guilty for what they've done to each other over the years, aren't sure they can or are ready to forgive the other but they're very slowly learning to tolerate each other

• They're like enemies to kinda friends in a way

• They're traumatized mfs

• They still sometimes fight but it's usually just yelling or saying shit now, they don't do the chair, deletion or axe really anymore since they at least got to the point where they respect each other's boundaries and triggers, and there's no point to keep doing the same old for over 10+ years, for the most part, they still slip up sometimes

• They do fuck up though occasionally so that's why Eteled has scars and Austin is a bit more bashed up

• They still have a rooted dislike for each other they're trying to get over but they sometimes chill out or talk, usually when Sam is asleep or off the Wii for a while, the two just will maybe visit or sit around to at least try to understand the other better

• Sam knows Austin is still around, and it took a while but with time she grew to accept him when he didn't seem like a big threat anymore, and that he was just as important of a soul as Eteled was, she still didn't like the fights and didn't know the full story

• She'd probably section them away from the other with a child gate if she could

• Austin of course has an ego and would never tell another soul that he has many nightmares of the server room and about what happens if he gets caught off guard or is sleeping when Eteled decides to attack him again, Eteled wouldn't do that, and Austin knows it but it's just the deep rooted fear he can't get rid of, even though he's much taller and technically more powerful than the smaller Mii

• Eteled is just tired, usually just sleeps in the Mii channel, especially when under stress or tires himself out if he's going through a moment, like triggered memories or emotions

• From all the deleting and the chair, and more crap from his early life, Eteled is just terrified of it all so even the idea of them scares the fuck out of him, so as a natural response he just tries to defend himself with his axe even if he would be shaking like a chicken, he really tries not to pull it out but he can't always stop himself

• The axe itself would probably also bother Austin a bit, but he would still try to cautiously calm Eteled down since he knows he's just afraid, so afterwards they'd probably have to awkwardly apologize for what the fuck happened at that very moment

• Sam sometimes offers them both to play a game together with her, or plans on playing with Eteled and invites Austin along, as a way to make them bond, they do end up having some fun though

• Eteled has seen and/or been around or within newer Nintendo consoles, but personally prefers being in the Wii since he's used to it the most, and it's the most comfortable and homey to him

• Oh yeah, if Austin or Eteled is having an episode or is deeply upset then the other will try to help sometimes if it's really bad, Austin tries to hide it more but it doesn't always work, yeah they have reasonable reasons to not like the other, but they aren't complete assholes

• They both got trauma memories and aren't gonna just watch the other suffer through it

• Austin may or may not have taken in what Eteled had said all that time ago about "Learning to move past the past", even though that technically makes Eteled a hypocrite when he's constantly beating himself up about shit mentally, even after years, they are both doing it tbh

• Also Kyle doesn't know about Austin 100% but is curious to know his story and who he is and used to be, and how he got in the Wii, especially after the passing of his family member of the same name, little does he know..

• Sam also doesn't know about any of it, neither Sam or Kyle know of what happened or Austin's story, Austin being in a tight spot since he doesn't wanna reveal his identity yet, knowing the possible reaction, for Eteled's sake, Sam's and especially Kyle's, and Eteled being absolutely fucking terrified since the fear of losing someone like Sam could become real, and the small but growing friendship he was slowly making with Kyle could go right back to hatred and wanting the small Mii deleted, not including the fact that he still eats at himself for his past actions so it being brought back up again would be a ✨mess✨

• Austin doesn't know if he forgives Eteled or not, but wants to try to move past it and not be reminded in any way

• Nathan is still a little lowkey scared of Eteled ngl, doesn't wanna upset him or anything and Eteled can tell, he probably sighs to himself but he can't blame the guy

• Kyle has thought about making another Mii of himself on what is now long been Sam's Wii, now that he's older and him and Eteled are rather chill, but decided against it since he wasn't sure, not because he didn't trust Eteled, but because he figured it could potentially remind the Mii of the past, so whenever he plays on it he just uses Eteled

(That's all I can really recall on the top of my head for now, whenever I remember more or add on things I'll probably make a new post about it)

[stxleslyds]

Red Hood and the lost art of telling Joker to shup up.  

Okay, I know that I talked about Jason and Joker in a recent post but this is something different, I promise.

I really want to talk about how different Jason has been written since UtRH when it comes to him confronting Joker. Jason hasn’t been put in that position a lot but the times that he has, he lets Joker talk for far too long and actually pays attention to whatever he has to say.

The Jason vs Joker thing is basic in on itself and letting Joker talk isn’t exactly the problem here, the real problem is Jason letting Joker’s thoughts shape his future thoughts and decisions, I do understand that that’s exactly what writers want though, they want to build the problematic of: “Jason is just like Joker and the fact that he uses the name Red Hood only proves that Joker made who Jason is now”.

But the thing is that THAT problem is overdone at this point and the only time it worked was the first time it was brought up and it worked because Jason shut the Joker down.

Let’s see all the times (that I remember) the Joker and Jason have had a little chat and/or the times Joker’s words actually influence Jason’s thinking and decision making.

 Under the Red Hood – Batman (1940) #649

This is the first real confrontation we get to see between Jason and Joker after Jason’s death and it is beautiful. It's absolutely amazingly written, Joker goes on and on forever about how he killed Jason about how Jason is just as bad as him but that he is also just like Batman because he hasn’t killed him yet.

“You let me live after everything I did, you couldn’t pop my balloon. You just couldn’t. The apple doesn’t tumble too far from the paterfamilias. You are just like daddy-kins”

Jason lets him talk, yes. But he absolutely destroys Joker with what he tells him next.

“You couldn’t be more wrong about me. If right were a country on earth you’d be circling on the edge of the milky way. Yeah, I let you live but like always, every damned minute of your addled, posturing, psychopathic life, you think this is about you. You’re a worm. I’ve pitched you on a hook and dropped you into the brine. And I will beat the hell out of you Pagliacci because it was too much fun not to.”

“Listen to me Joker, I’m not you. I´m nothing like you. I know what I do and I know why I do it. You, you are, clinically speaking, a whack-job. But I know a secret, a good one.”

“You are not nearly as crazy as you would like us all to believe or even as crazy as you would like to believe. It just makes it easier to justify every sick monstrous thing you’ve ever done when you play the part of the mad clown. You are crazy, bubba, but you ain’t that crazy. Look at that. I wiped a smile off of Joker’s face. I have been waiting a long time for that.”

Everything about this is perfect, Jason gives Joker no room to mess with him. Whatever the Joker had planned on saying he had to eat because Jason wasn’t playing games and he was ready for any kind of lie the Joker had ready to tell. This is Jason Todd. He won’t let the Joker get under his skin because he knows the Joker and he, also, knows better. 

Red Hood and the Outlaws (2011) #15

Here Jason comes across Joker during the “Death of the Family” event. In this issue the Joker has information about all of the members of the “Batfamily” and he uses that to mess around with each one of them, in Jason’s case he insinuates that he was present in very specific moments of his life when Jason’s father got shot, when his mother overdosed and when he was on his own before joining Batman.

Jason doesn’t quite believe that Joker was there but as the reader, we can see this sort of sense of doubt in Jason. He hesitates a few times before resolving that the Joker is playing with him.

But as far as this issue goes let’s just say that what the Joker says doesn’t get to Jason, this changes though in the issue that follows up this story.

Teen Titans (2011) #16

This is where that story continues and where Jason starts to buy the story that Joker is selling.

Joker convinces Jason that he has his father and Tim’s father and that the only way for Jason (or Tim) to save their dads is by killing the other (Jason or Tim). Tim doesn’t believe it but Jason is ready to shoot Tim almost immediately.

However, Jason changes his mind about killing Tim just as Tim comes up with a plan for them to not actually have to kill each other. Here is where Lobdell’s writing shows all of its flaws, Lobdell is so desperate to show that Jason and Tim are besties that he forgets that Jason had no reason to stop trying to kill Tim to save his shit father because it is later revealed that Jason truly believed that Joker had found his father and had him captive. It wasn’t until Tim explained his thought process as to why those men weren’t their dads that Jason just goes “you realize, of course, the only reason I didn’t kill you right off is that I knew your big brain will figure out some way out of this” HA, nice save Lobdell but I see right through your bullshit.

Jason bought what the Joker was selling and that is the beginning of Jason’s downgrade when it comes to not playing Joker’s games.

Red Hood and the Outlaws (2011) #17

Well, in this issue Lobdell goes back to Jason kinda not believing what Joker told him, and Jason asks Bruce of all people if he thinks the Joker truly “made him or not”. Bruce says that he doesn’t believe that and that he didn’t have anything to do with the man that Jason has become either. For some reason, Jason is actually happy with what Bruce said and for a couple of moments, Jason goes back to being sure that the Joker knows nothing and that he is his own man.

It doesn’t last long though. At the very end of the issue, the trap that Joker had set up in Jason’s helmet triggers and Jason gets his face fucked up with acid or something.

But that’s not all because a hologram of Joker has something to say: “you were supposed to be my masterpiece from start to finish. But you were too stubborn to stay dead. So here is what we are going to do… You’re so determined to be your own man? Fine, let’s start with a clean slate”.

Basically, the Joker insinuates once more that he had something to do with who Jason was supposed to become and that Jason isn’t truly “his own man”, This is all a setup for a very dense storyline that will be continued in this run later.

Red Hood and the Outlaws (2011) #18

In this issue, Jason is in a coma after he is dosed with that gas in the previous issue. The Joker isn’t really present in this issue but he does make an appearance as part of Jason’s “nightmare” while he is unconscious.

That’s not all though, Jason has an illusion of Ducra (someone that he appreciates a lot), telling him that “after you left the All-Castle after you went back to the world you continued to let your life be defined by the actions of that man. You became a killer, lashing out at people who may or may not have deserved it. Eventually, you will hurt all those you have cared for. In that way, how are you any different from the Joker?”.

In this statement, there is a lot of wrongs that can come from two places, either bad writing on Lobdell’s part or just Ducra telling lies as a plot point.

“Let your life be defined by the actions of that man” is a sentence that horribly simplifies Jason’s thinking during the events of UtRH, because while he did resent the Joker, his real problem was with Bruce who had not avenged his death by killing the Joker himself. Also, Jason was doing other things back then, like being a pain in the ass for Black Mask and disrupting the drug trade in Gotham as well as trying to control the drug dealing to children. So that little sentence is just a gross misinterpretation of the true events which means that Ducra was wrong, and “she” continues to be wrong when she says that there might be no difference between Jason and Joker.

Luckily Jason thinks the same because he tells “Ducra”: “…don’t you dare compare me to that monster Ducra. I am nothing like the Joker! Nothing!”

Once again please don’t be fooled by Jason’s thinking because in the next issue it turns around really fast and really bad.

Red Hood and the Outlaws (2011) #19

Just a heads up this issue has a change of writer, Lobdell isn’t writing this arc, the writer that gives us this hellish story arc is James Tynion IV.

All that talk about Jason not being affected or not believing what the Joker told him is yeeted out of the window and it’s not a fun ride.

In this issue, Roy and Kory find a Jason that doesn’t know who they are or who he, himself, is. This is because S’aru that little floaty little shit took his memories away after Jason asked him to do so, well Jason asked S’aru to erase every memory that darkness has touched (Joker) and he does that. But him doing that is apparently erasing everything which, holy shit, how messed up is that?

But let’s take a look at what Jason says before he gets his memories taken away: “Not only did the Joker almost take my face, but he tells me he might have manipulated my entire life from the beginning! Even the good is tainted by him now. I can’t do it anymore. I can’t have that kind of doubt. If you take it away, I can go on living. I can keep fighting”. So, yeah that was a pretty emo speech. But the thing here is that if Jason is asking this dude to erase every memory that has been tainted by the Joker and he erases all of them then we might be facing one of two situations, either Joker has been messing up with Jason’s life from the beginning or S’aru is just a little bitch.

We will later find out in #20 that S’aru and Ducra planned the whole thing, meaning that they took all of his memories for ulterior motives not because the Joker had actually tainted all of them.

For many issues Jason has no memories and now that I am revisiting these issues, I now remember the twisted and completely insane plot they came up with for the “League of Assassins” and Jason being the “Chosen One”, everything was happening in this run, my god, it's like they wanted Jason to be the center of every single trope in writing history.

It’s in issue #26 that Jason asks for his memories back but the Joker having tainted his memories or not isn’t important anymore to anyone, including the writer (because he is too focused on telling this messy story), Jason (because he has enough problems at the moment) and the reader (because this book makes zero sense and it changes the story and motivations every single issue).

But there is another truth to be revealed in the next issue.

Red Hood and the Outlaws (2011) #27

Jason has planned along Ducra and S’aru to give up all of his memories to be cleansed so he could defeat Ra’s Al Ghul. But (there is always a but) Ducra says this: “Your greatest enemy returned and nearly took your face away from you. And in the process, shook your sense of identity to the core” “The final battle here will take place in the Well of Sins, and with all the doubt and fear clouding your mind, it would eat you whole”.

So yeah, now we have confirmation from Ducra that Jason had indeed let what the Joker told him cloud his sense of self and made him doubt who he was and if he really was in control.

All that back and forth for these many issues just to say, yes, Jason let Joker’s words affect him.

So here it is, let Joker get in Jason’s head to build the plot of a story, fantastic, the story was a mess because it had so much information, the mischaracterizations of Roy and Kory were at their maximum potential, and in this particular story arc not only are the events of Red Hood: The Lost Days officially erased from Jason’s canon but something quite out there is added to Jason’s canon from before he was even Robin (that’s a whole different story that I won’t be talking about here).

What an insane ride this arc was. Definitely not the kind of story I enjoy in a Red Hood book but that’s just my preference.

*This whole arc was written by James Tynion IV.

Red Hood/Arsenal #11

Joker is dead during the events of this run but the person who has something to say to Jason about how the Joker made the person that he is now is Duela Dent (“Joker’s daughter”, she isn’t his daughter she just found Joker’s face somewhere and she puts it on and “becomes” crazy, she is an incredibly weird character).

She says this, “You’re a lot like dad in that way” to which Jason says “He is not my father. He’s not even your father” but Duela continues by saying. “You’re kidding yourself if you genuinely believe that. Yeah, he took your life but look what you got in its place, you ingrate. You got your freedom. You were reborn.” 

Jason doesn’t fall for it or anything of the sort but once again writers are bringing up the Joker as the maker of the Red Hood and “suggesting” that what Jason has been doing and who he has become is all thanks to Joker. The idea of Jason having no free will is still present in this narrative, even when Jason doesn’t believe it.

Red Hood/Arsenal #12

I talked too soon because in this issue Jason is having some weird thoughts.

“Funny, isn’t it, so easy to call Duela “crazy” because she wears a dead man’s face. Because isn’t that what I’m doing? Before he was the Joker, he was the Red Hood. So maybe the line between men and the Joker’s daughter is a lot thinner than I’d like to admit.”

Here he is comparing himself to Duela and to the Joker to an extent, writers often bring up the fact that Jason uses the code name that his killer once had and they have people or Jason himself questioning why he uses that name.

Personally, I don’t think there is much to build from it (at least not from the perspective of Lost Days and UtRH), it was just a joke, a morbid one if you will. He wears the mantle of the person that destroys Gotham and fills its people with fear while he is trying to control the city’s drug trade and trying to keep the people safe in his own way. And the way he wanted to do it is almost the complete opposite of the way that Batman does things.

I just think that he is being ironic and acidic about the whole thing. He has obviously moved on from the fact that Joker killed him but he has issues with the fact that Batman has yet another child working with him while the Joker is still alive. And Jason really wanted to make Bruce suffer, so him taking the name and a similar appearance to how the joker used to look is also done to get a reaction from Bruce.

I really don’t think there is any sort of connection to make between Jason and Joker beyond that, much like there is no connection between the name Nightwing and the Court of Owls. Even though Lincoln March tried to convince Dick Grayson that he chose the name Nightwing because Owls fly at night and that meant that he was supposed to become a Talon and all that Dick still didn’t believe it because he knew why he chose that name and no one can twist his reason.

Red Hood and the Outlaws (2016) #10

Finally, I can stop re-reading New 52 books, I don’t enjoy it but I have to do it if I want to talk/complain about stuff.

This one is a little different because while Jason does talk with the Joker, the Joker isn’t really there he is just part of Jason’s imagination just like the Robin Jason that he is also seeing.

In this story, Jason is helping Artemis discover who she is but he gets captured in Qurac, yup that place, and worst of all from where he is being held, he can see the place where he died. All of that is helping Jason have some very vivid memories/illusions. He does actively hold a conversation with the imaginary Joker and Robin Jason though, and he is also having a lot of thoughts that let us know how the Joker affects Jason.

“This is why it was stupid of me to come back to Qurac. Even to help Artemis, even if I thought I could handle it. Physically, I am alone, but in my head? I’m drowning in memories of the worst day of what was my very short life. The day I was murdered.”

That’s what Jason is thinking but what I write next is what Jason’s saying as he talks to the imaginary Joker.

“Not interested in replaying this over again, like I have every night of my life since it happened Joker”

So, we are told that Jason thinks about that day very often, the Joker might not be involved much in Jason’s books but he definitely has a bigger role inside of Jason’s head. They chat for a bit up until Jason decides to “kill” the Joker, he knows, of course, that it is not real but it does give him satisfaction. (If only they would have let Jason actually kill the clown for real, or at the very least chase him just to show the reader that Jason does actually want to finish the job since the Bat won’t do it himself).

Having said all that, Joker’s imaginary death doesn’t last long because Jason is trapped in his mind and the Joker is basically functioning on a loop inside of it.

That is where the problem lies in this issue because Jason is letting us know that he is still heavily influenced by what happened that day and that he hasn’t been able to walk away from it. But once more that’s not the worst thing, because all of these thoughts have led Jason to think that he (in the present and as a fifteen-year-old) is the one to blame for having ended up dead. Yeah, it is messed up.

This is what Jason says to imaginary Robin Jason, “He is never going to die, Jason. Not here. Not in my mind, not if at some point I don’t stand up and walk away from my memories. From you.”

This is a major downgrade, from the Jason that we had in UtRH because that Jason had moved on from the fact that he had been killed what he was looking for was for Batman to avenge his death. He had other things in mind as well, like I said before in this post Jason had a lot of things going on, killing Joker wasn’t his only plan.

And this situation (written by Lobdell) is also very different from what was going on in New 52 where Jason being influenced by the Joker was used to build a plot. This is just a writer letting us know that this “new version” of Jason hasn’t worked out his problems when it comes to his death and his killer. That means that we are going backward.

After he realizes that he was unconscious all that time and that he was being tortured he does get his shit together in order to get out of captivity and go help Artemis.

The Joker and that whole thing that happened in his mind aren’t mentioned again, it was just for the reader to know that Rebirth Jason has unsolved issues with his death.

Batman: Three Jokers #1

Oh yes, here we are, we have arrived to that dreaded book, awful writing gorgeous art. In this book, the “Joker made Jason as he is now” trope is at its full potential; Johns drives this hellish truck of a book at full speed into our homes and then ends it by giving us one of the worst takes on Jason Todd’s characterization ever.

But first, let’s talk about the Joker and Jason interaction in the first issue. As Jason and Barbara are left alone with the Joker that they came across moments ago the Joker begins talking because that’s what he does.

He says this, “I’m the loop-de-loop, the hamster-wheel-of-doom. The cycle of pain each one of you is trapped in. Take “Red Hood” here, for example. Have you ever wondered why he uses my former moniker? Who in their right mind would take on the identity of their killer? Am I right?”

He is obviously being a little shit on purpose and is waiting to see if somebody will take the bait. Jason is the first to talk and he says this: “I took it because I’m owning what you did to me. You made me into this. I will be your destruction”.

Congratulations Jason, you took the bait, and now Barbara will fight with you over it.

Jason raises his gun to “break the cycle” and Barbara is like “please don’t do it” and boy is Joker having the time of his life! Both of these idiots are playing his game, Johns really did both Jason and Barbara dirty with this.

Here is where THE problem with letting the Joker talk is. This Joker got under Jason’s skin in seconds and Barbara did nothing while it happened.

This is what the Joker had to say. “Let’s look at the facts here bat-people. I bashed this boy’s skull in. I killed this Robin” to which Jason says “You didn’t kill me, you only made me stronger” which is weird because the Joker did kill him so I don’t know what kinda comeback that was supposed to be but Joker wasn’t done because he continues by saying “Yes, you crawled from the shallow grave I left you in. You lived on to fight another day. Hurrah! You survived because of your tenacity! Or maybe… maybe I beat you to a bloody mess… I took you right to the edge… because I wanted to leave you alive.”

Great that’s where the clown is going, just fantastic, more of the “I made you” but that’s not all because the Joker tells Jason that him having hurt Jason wasn’t because he didn’t like Jason, it was all about Batman, Jason doesn’t matter.

But that’s not the worse thing that was written in this awful book, Geoff Johns seems to have felt that the trauma that Jason went through in the original “Death in the Family” story wasn’t enough because he decided to add something new.

That’s why the Joker says this next, “Do you recall what you said to me while I was breaking your head in with that crowbar? As your blood streamed into your eyes and your skull cracked? Because I cherish those words. I’ll always cherish them. ‘Please stop! Please! If you let me live, I’ll do anything you say. I’ll be your Robin’” “And look at you now my little “Red Hood” shooting up people and making Batman’s life miserable! You are my Robin!”

What a nightmare Johns decided to put Jason and Jason Nation through huh? I hate this, this is the worst thing that has ever been written in a Jason Todd story (although I can say that about many things that were written in this three-issue book).

Jason kills the Joker after he says all that, Barbara does (for some reason) try to stop him from doing it but luckily, she can’t stop Jason.

But here is the thing, Jason killing the Joker doesn’t make me feel as satisfied as I would have liked, and it doesn’t feel that way because Jason let Joker talk for far too long and what Joker said ended up getting in Jason’s head and messing with him.

Batman: Three Jokers #2

Yeah, there is no rest for us, Jason Nation, in this issue Jason goes looking for another Joker to kill and he finds one but he gets captured. Johns really had to get Jason naked for Joker to torture him mentally and physically? Johns is, himself, a major red flag but that’s not what I am here to talk about.

In this issue the Joker that captures Jason has the same things to say as the other one, DC writers really have no imagination when it comes to building conflict between Joker and Jason, huh?

Anyway, Joker says this, “tell me something. Why would you put on that helmet and call yourself Red Hood after what we did?” Jason of course replies “Come on, is every one of you copycats gonna ask me the same thing? It’s a joke” the answer isn’t enough for Joker (the two of them that are here with Jason) so he continues talking. “A joke? We left you with brain damage and permanent nerve pain. Physical and emotional trauma so severe that the only relief you ever find is when you inflict pain on others. You and me, boy, we’re more alike than you’d care to admit. But you know that already. You nearly died and you blame the Batman. You hate him for it. Me too. You hate him most of all don’t you?”

Now, here is the thing, that whole thing is bullshit, none of it makes sense. From Jason having permanent nerve pain to Jason hating Batman the most, everything is a lie. And my confusion here is that I don’t know if I have to feel like Joker is doing it on purpose to be a little bitch or if Geoff Johns was on crack when he wrote this and he had actually never heard of Jason Todd in his life before.

The whole thing is a mess, it feels like he is writing Jason from an origin and story that we never read. I don’t know how to explain it, but the whole thing feels cheap, it’s a cheap trope and it’s a cheap take on who Jason Todd is, was, and will be.

The nightmare doesn’t end Jason Nation because these two Jokers have something else in mind, you see, if they said that they made the Red Hood when they killed Jason the first time, maybe if they kill him this time then he could possibly come back as the Joker. Yeah, this book did nothing for Jason.

Let’s make something clear, Jason does NOT hate Batman/Bruce for not being able to save him, he hates the fact that Batman/Bruce didn’t kill the Joker to avenge him. That simple thing doesn’t exist in Three Jokers and that’s why things like the ones that happen next are allowed to happen in this story.

Bruce and Barbara find Jason and when Bruce asks if he is okay Jason just goes berserk, he says: “Am I all right? What do you think Bruce?! You did this to me. You put me on this path. And I do hate you for it. For leaving me in the dirt. Replacing me one Robin after another without a thought.”

This, everybody is what you get when you mix bad writing with Jason being mentally manipulated by the Joker.

It's a shame that Jason is being treated this way at this point in time, in a book that came out in 2020 when Jason was able to shut the clown up with a knife and a couple of words back in 2005. What a downgrade.

At the end of this issue, Jason is safe and recovering but he still is in the same mindset, he says, “What the Joker said about how I’ve been on the path to being like them for years… they are not wrong. I don’t want to be like them though. I really don’t.”

It’s like a never-ending wheel of pain with this book. Jason is talking to Barbara when he says that and he is trying to look for comfort in her. And here is where the Jason/Barbara subplot begins and I only bring this up because something that happens in the next issue is based on the kiss that Barbara gave Jason but then was like “that doesn’t mean anything, I was just trying to comfort you”. Johns shouldn’t be allowed to write Barbara and Jason ever again.

Batman: Three Jokers #3

It’s in this issue that we find out the big subplot that Johns has prepared for Jason, are you ready for it? Yup, Jason should stop being the Red Hood because if he keeps it up, he will eventually become the Joker.

I know, I know! Jason would never stop being Red Hood, he is not on a path to become the Joker, that’s crazy! Jason’s Red Hood is a character on its own and he is amazing and just because he has different morals from Batman doesn’t mean that he is a bad guy! Right?...

“I’ll give up being Red Hood for us. I can be something else. Or I can be just Jason.”

To this day I cannot believe that those words supposedly were written by Jason Todd to Barbara Gordon after Barbara rejected him three times. The level of “what the fuck is this” is incredibly high with this one…

This whole book was a mess and I am so glad that it didn’t last longer.

Anyway, that’s it. In conclusion, Jason didn’t let the Joker get under his skin the first time they interacted after he came back from the dead but later when DC decided that UtRH was just too good of a book they came up with stories where Joker does get under Jason’s skin and Jason becomes convinced that he has no free will (or at the very least he doubts his free will) when it comes to him becoming his own man.

As I have said before, that for Jason Todd is a major downgrade. And it's one of the many things that hurts Jason’s characterization in current comics.

[shihalyfie]

Some fun talking about and analyzing the tri. stage play, and its relationship to Kizuna

The tri. stage play (full title: "Super Evolution Stage! Digimon Adventure tri. August 1st Adventure") is honestly quite an unusual entry in this franchise, even within Adventure standards. Nearly everything about its production is unusual -- the entire genre it's in is unexpected, the choice of time period to release something like this is unusual, and moreover, now that Kizuna’s out, a lot of people have noticed a lot of suspiciously similar themes and even language, most notably the key “we’ll always be together” line (phrased even exactly the same way in Japanese). In fact, despite ostensibly being a tri.-branded product, other than a few vague token nods to the anime series in the play itself, said stage play has very little to do with the actual anime sharing its name, so the similarity to Kizuna is even more striking in retrospect.

Perhaps another interesting thing about this play is that it’s a very good example of a standout work in the Adventure universe that didn’t have any original creator involvement (other than some minor tips from Seki). I think there’s often a tendency for people to think that in order for a sequel or spinoff to be true to the original, it has to have some member of original staff on there, especially since the Adventure (and 02) characters tend to be a bit overly complex and it helps to have the reassurance that someone who knows them is behind the wheel -- Kizuna used the presence of Seki and Yamatoya as an outright advertising point -- but this stage play’s director and writer had no experience with the franchise beforehand, not even as a fan, yet still made a very respectful product that has generally been received well by Adventure (and 02) fans and even got the original director’s approval, too. If anything, that makes it all the more impressive!

(Note that the below text spoils the story content of the play, but not Kizuna’s to any substantial degree.)

Some production background

Anime and video game stage tie-ins are fairly common -- much like this one, they tend to have very short runs and are targeted at a limited audience -- but they’re usually stereotyped as being for the otome crowd (i.e. predominantly female otaku audience), so works like this are generally associated with it. As a result, when this play was announced and released between tri. Parts 4 and 5, quite a few people were surprised, because this franchise originally came from products associated with shounen anime. In practice, this was a period where it was becoming increasingly clear that there was, in fact, a huge female audience for Digimon (especially Adventure universe), on top of the fact that (as noted by the performers in the final show) the audience for this show ended up being unusually mixed-gender, because Digimon really is universal -- but it did lead to the announcement of the play being initially received with heavy skepticism, partially because of the usual misogyny (stigma around things associated with female audiences, etc.), and partially because this was during a time where...well, saying that a very huge percentage of the fanbase, especially the Japanese side, was really pissed off at anything tri.-branded at the time is kind of an understatement. Ultimately, the play ended up very well-received with a small but dedicated following, and it’s currently referred to as “dejisute” (short for “Digimon Stage”) in Japanese fan shorthand. Bringing it up generally elicits positive critical feedback, even among those who were initially skeptical.

Some interesting things also surround the circumstances of its production as well. As some might know already, the tri. anime series and Kizuna share only one key member of staff: Kinoshita Yousuke, who was involved in tri. Parts 5 and 6, and eventually went on to become the producer for Kizuna and the upcoming 02-based movie. tri. was a work that (for some reason) had a huge number of producers on it, of which Kinoshita was only one; he seemed to have been replacing Arai Shuuhei, who left the project after Part 4. However, while Arai was formerly one of the most visible of tri.’s producers (he was the only one regularly brought up in interviews), how much degree of influence Kinoshita had with tri. is unknown, other than the fact he had no involvement in its story. Given that the decision to make Kizuna also seemed to have been made around Part 5, it seems that Kinoshita may have been brought on specifically for the purpose of observing and prepping for Kizuna, because his role on tri. seems to have been so minimal that the moment he was put in charge of Kizuna, the production philosophy ended up becoming completely different under his management. (When you think about it, tri. and Kizuna have very little in common, other than the rough premises of involving the older Adventure cast.)

The thing is, though, Part 5 isn’t actually the first tri. work Kinoshita is credited for, but this stage play is -- which is interesting to consider when taking into account the heavy amount of thematic parallels between this and Kizuna three years later, and in general the very unusual creative decision to make a stage play that suddenly popped up at exactly this time, making heavier tributes to Adventure (and even 02) than the actual anime it was branded with. Making things even more interesting was that the stage play’s director and writer, Tani Kenichi, was allegedly recruited by an unnamed producer impressed with his work (by the way, did I mention Kinoshita used to work in live-action before joining Toei?). Given all that, perhaps this stage play coming off unnervingly like a sort of Kizuna prototype isn’t all that surprising...

Unfortunately, right now we’re still kind of in a time period where official will get barraged with violently angry comments for even so much as putting the series on streaming services, so it’ll probably be a few more years (if ever) before official will be willing to be more open about what went on behind tri. production, and it’s probably a bit much to get too speculative about things like this when real people are involved. Nevertheless, one thing is apparent: the director and writer, Tani, was a newcomer to Digimon -- not even someone who’d been a fan beforehand -- but watched all of Adventure and 02 in preparation for it and stated openly that he was very, very emotionally touched by it. The work itself is obviously made with a lot of love and respect for the series, and one really cool thing about it is that you can also tell that it came from the perspective of an adult with no preconceived notions about it, therefore meaning it comes from someone analyzing the series without necessarily caving to fanbase mantras, and making some very cogent observations about the characters. It’s also just a fabulous work production-wise in general -- the puppet work and making the Digimon look convincing on stage is very well-done, especially when you consider that this play had only ten showings -- and you really gotta appreciate the fact that, even before Seki gave him a few pointers, he was so passionate about the importance of Digimon partners that he pushed for all eight to be represented despite the expenses.

Taking a look at the play itself

Despite ostensibly tying into the tri. anime series it's branded with, the play only really seems to loosely refer to some of its key elements as taking place at approximately the same time, such as Koushirou’s server, infected Digimon, setpieces like KNIFE OF DAY, and an eventual “reveal” that this seems to take place ostensibly around the rough time period of tri.’s Part 4. Look closely, however, and you’ll notice that a lot of things in the characterization and plot arena actually don’t track much with tri. at all -- for instance, in a very non-comprehensive list of things:

It’s implied that Yamato himself is embarrassed about the KNIFE OF DAY band name and is desperately trying to get through it with passion, which doesn’t quite line up with his attitude about it in the anime.

The timeline just really doesn’t line up; Mochizuki Meiko, Meicoomon, and the infections obviously exist, but you can’t have a time period in Part 4 where the kids recognize Meicoomon as being related to the distortions or infections while also being separated from Meiko. Moreover, the “reboot” just doesn’t seem to have happened at all (and to be fair, if you’re planning on making a two-hour tribute to Adventure, not having the Digimon with memories of said adventure would seriously limit the scope of your plot, so this kind of “leeway” was probably downright necessary).

The tri. anime series portrayed Takeru as having a very sharp shift in language, presumably under the implication he’s putting up a front as a flirtatious, aggressive playboy, and so his first-person pronoun was turned into the aggressive ore and his way of referring to Yamato aniki. In Adventure and 02, Takeru had used the polite boku and childish/cutesy onii-chan, and the boku was prominently used as a plot point to hint at Takeru’s identity as the series narrator. (Yes, these kinds of things are actually kind of a big deal in fiction.) Since even longtime fans generally agree that at some point Takeru would be likely to stop using onii-chan once he became old enough, the stage play likewise also prefers aniki over onii-chan, but, notably, it doesn’t even bother with ore in the slightest nor any of the implications that surround it, and Takeru comfortably uses boku for the entirety of the play. Considering that the use of aniki is still a bit unusual (both Diablomon Strikes Back and Kizuna prominently favor the slightly more polite nii-san instead), it seems that the play was made with an awareness that both aspects of Takeru’s language had changed, but a conscious decision to hold over only one from the anime.

And so on and so forth.

In general, the way you could describe this play’s handling of Adventure universe lore and characterization elements is that it’s a bit selective about which tri.-related elements it makes use of, particularly in regards to ones that might be too difficult to reconcile with the original Adventure (and 02). (This is basically the same attitude Kizuna roughly takes in regards to handling of tri. elements, although it’s less noticeable there partially because of the five-year gap between tri. and Kizuna.) Obviously, being completely incongruous with the tri. anime would be a pretty crude thing to do for a play that’s actually branded with it (and especially when said anime was still ongoing at the time, regardless of public opinion), but, regardless, the end result is that its actual relationship with the tri. anime’s version of canon is a bit tenuous.

The main reason for this is probably that, on the flip side, the stage play's references to Adventure -- as in, the specific series that aired in 1999-2000 and took place in the in-universe August 1 and 3, 1999 -- are incredibly aggressive. In fact, it’s actually far more aggressive in this respect than Kizuna is. For all Kizuna is branded as an Adventure movie and puts the original Adventure cast first and foremost in all of the advertising, if you watch the actual movie, in practice, it’s more of something that lies in the gap between Adventure and 02 and the two series together as a whole. Adventure was a series that practically revolved around a "trapped in another world" story and the specific impact its events had on the kids involved, but Kizuna focuses more on the “larger world”, including real world society (very much 02 things), with a lot of themes with suspicious pertinence to 02 and references to its epilogue looming over the plot; the specific Adventure references and even the Digital World don’t come into play until the climax. (And that’s before we get into the fact that the 02 quartet gets more screentime than a good chunk of their seniors.) Really, you can see it just by the fact that a majority of the primary key visuals line the 02 quartet up with everyone else; it’s a movie about both, not just Adventure.

So in other words, Kizuna is really about mixing Adventure and 02 elements, serving as a sort of stopgap work, and recasting the Adventure group in a lot of 02′s context. (And that’s by no means a bad thing; since Adventure wasn’t about that, the differing juxtaposition is a fresh perspective in its own way.) But in terms of revisiting what the actual series called Digimon Adventure was and how those events might have an influence on its relevant cast years later, this play (which actually has longer runtime than Kizuna, being around two hours) is a good place to go to if that’s what you’re looking for. The entire premise of the play revolves around copiously referencing that specific adventure back in 1999, and, more importantly, what impact it’s still continuing to have in this particular group’s memories, to the point where they’re starting to romanticize it and wish they could return to it forever...

Ah, right, that’s what this play has in common with Kizuna: the overall theme of unhealthy fixation on rose-colored nostalgia, and the need to move forward from it. (And, driving it home, “unhealthy fixation on the events of Adventure” as a symbol of that rose-colored nostalgia, to boot.)

The premise of the play itself is that the kids decide to hold a camping trip as tribute to the adventure in 1999, as part of a desire to "go back to those times" (and, as is eventually revealed, it’s actually part of a pocket universe their subconscious wishes had dreamed up as a desire to recreate the past, thanks to the power of the Digital World). So all of the references to Adventure are concrete and fleshed out in specific detail, ranging from everyone referencing specific events and how they impacted them (Jou very explicitly refers to his experiences in Adventure episodes 46-47 in terms of why it fuels his current desire to become a doctor) to even the most minor of references (direct reference to bananas on File Island, from Adventure episode 3).

As a brief aside, a positive side effect of centering the plot on this specific adventure is that it justifies the reason for why these eight are working together (at least prior to the endgame reveal that they’re still involved in tri.’s events); the eight of them weren’t portrayed as liable to do so without good reason, and while certain aspects and events from 02 are alluded to when they’re relevant, the absence of the actual quartet passing without note is completely justifiable because they simply were not on that adventure anyway. (They weren’t initially planned to be at the event in 02 episode 17, and knowing them, it’s likely they wouldn’t want to be at this kind of outright commemorative camping event, because they’d feel like they’d be intrusive in something they had nothing to do with.) So within the scope of the play in two hours, the narrative can be very neatly condensed to be mostly about Adventure itself.

Although this play and Kizuna both share the common theme of the existential crisis that comes with getting older and the tendency to romanticize one’s childhood, the underlying reasons are a bit different; Kizuna’s is very close to 02 in that it’s largely to do with societal pressures and expectations, especially since the question of "what you want to do with your career" is a driving motivation in it. In other words, the existential crisis comes from living up to other people’s expectations, or trying to fit into an arbitrary societal mold of an “adult” without necessarily knowing if that’s what you really want. In the case of this stage play, being set in everyone’s high school years where everyone’s relationship to “the world at large” is a bit more tenuous, the reason for the existential crisis is somewhat closer to Adventure’s: everyone’s started to think they might have been better people back then. More confident, less hesitant, more honest with their feelings. Adventure was a series about self-improvement and one’s relationship with oneself, so it’s understandable that a work meant to look back on that specific adventure will ask the question “well, did they become better people after all?” as a result.

But there’s two problems with this line of thinking: one, this is a very rose-colored evaluation of their former selves, because just because they might have been “more confident” back then doesn’t mean they didn’t have other problems going on (Hikari calls her past self out for being arguably “more honest”, but also somewhat of a dependent child), and two, being more hesitant doesn’t make one a weaker person, just one who’s dealing with a lot more problems and awareness and things to worry about because of how much the scope of their lives has increased. As Agumon says at the end, the old Taichi and the current Taichi are still the same person; it’s just that he’s dealing with more, so he’ll naturally worry about more, and taking on those extra burdens is actually his own way of “evolving”.

Particularly interesting is the position of Jou, the not-so-unsung hero of this story, who is explicitly identified as the person most clearly aware of his future dreams and proceeding without hesitation towards them, to the point of being somewhat immune to the effects of the dream world. (Somewhat, mainly because the ending establishes that he wasn’t entirely.) It's consistent in line with the fact that we actually saw, directly, the train of thought that led to his decision to become a doctor back in Adventure, and he even states it directly in this play himself: he doesn’t consider himself someone who wants to solve things through fighting, but rather someone who can prevent casualties and heal the injured if he pursues this line of study, and thus is determined to make it happen. Even from the very early points of the play, there are several hints at him being able to see a metaphorical “future” that the others cannot, and while he remains unfailingly loyal to his friends (there’s a long sequence of him constantly claiming he’ll leave them as per Koushirou’s request but constantly coming back because he just can’t bring himself to abandon them), he also is the first one to depart the camping trip to attend to a test -- that is to say, he treasures his past, but he has a strong enough dream for his future that he’s willing to move on better than the others can.

Jou’s also the one to personally advise Yamato about the difference in nuance between doing things because you feel you must, versus doing it because you yourself truly want to, a difference in nuance that also becomes very pertinent in Kizuna. Also pertinent to both works in common is the discussion of nuances between “staying trapped in one’s memories” and “violently cutting them all away” (the consequences of the latter being more extensively discussed in Kizuna), versus the ideal situation of reflecting on those memories and experiences from the past in order to productively move forward.

And in the end, rose-colored nostalgia is, indeed, rose-colored nostalgia. Because, sure, that adventure back in the day was great, and they grew a lot, but they also grew a lot because they were overcoming some very harsh, difficult troubles; omitting those parts is losing the substance. The re-invocation of the fun “camping trip” also means re-invoking all of the other things that came along with it, including all of the dangerous threats they’d faced back then. It’s a package deal, and you can’t just filter those out, because it misses the point of what you gained out of it in the first place.

In general, the character writing for this play is also very good; there are some differences between the characters here and them back in 02, but they’re all within the believable scope of positive progression within three years and general adherence to core tenets of their character (Koushirou is certainly more assertive, but emphasis continues to be placed on his deference to others, penchant for spotting details, and capability for being an organizational leader in his own sense). Also notably, this play manages to verbalize a lot of the subtleties in Adventure and 02 that the mainstream tends to gloss over (and don’t tend to get put in official profiles) but are well-known to those deeply familiar with the series. This is the kind of attention to detail usually associated with those who have been studying the series for years, so it’s refreshing to see these come out in words -- for instance, Koushirou stating outright that he was one of the closest people to Taichi for a long time (very true!), Hikari and Takeru actually commenting on each other from back in Adventure (something we never really got in 02, despite “them having known each other for a while” being part of their character arcs), and Sora explicitly admitting that she goes out of her way for others because it’s easier to work for others than it is to even think about herself.

Actually, the attention to detail in general is fantastic; other than a minor slip-up (Sora refers to having met Koushirou during the summer camp at the beginning of the play when she’d actually known him prior from the soccer club, a detail that’s very easy to miss because it’s only mentioned once in Adventure episode 16 and clarified further in the novels), a lot of things from Adventure and 02 are made use of and framed in very clever context; the choice of Etemon as the enemy for this play is well-placed for both his entertainment value and the fact that, as an enemy personally defeated by MetalGreymon in Adventure episode 20, it makes perfect sense that he would have a grudge against Taichi in particular. (It’s also explicitly mentioned that Hikari and Tailmon never met Etemon in person even once, and that Taichi never actually got to see MetalEtemon, so there’s a lot of attention paid to logistics like that.)

Also, while 02 is not really brought up within the scope of the story (and really shouldn’t be, not when this story so heavily centers around Adventure and its themes), its place in canon and its contributions to the worldbuilding are fully respected; a lot of the offhand references to family situations and background are elements that were originally introduced in 02, and many aspects of its Digital World lore are used to assist the plot premise (in particular, the idea of the Digital World being connected to something that can conjure up unconscious dreams wasn’t explicitly invoked until 02). Rather amusingly, at one point, Hikari uses the events of 02 episode 13 to tell a “scary story” to troll Mimi, and it’s interesting and rather refreshing to see the implication that Hikari’s been able to move past the incident enough to use it to troll someone else. There are also some latent epilogue references as well, with Hikari directly bringing up her goal of becoming a kindergarten teacher, Takeru making some really subtle references to wanting to be a novelist and chronicle their adventures (in true Takeru fashion, he never states it outright, but anyone familiar with the epilogue can figure it out), and Taichi alluding to an ultimate goal of humans coexisting alongside Digimon.

Finally, attention should be called to the play’s relationship writing in general. As stated before, the play does call attention to relationships between characters that often don’t get brought up by the mainstream but are somewhat more well-known to fans -- Koushirou and Taichi, Sora and Mimi, Jou and Yamato -- but even the well-known ones are treated with nuance endemic to that from Adventure and especially 02, given that Taichi and Yamato don’t actually have the stereotypical “cold rivals” atmosphere that shounen anime would usually suggest, and the two of them have an extended heart-to-heart in which Yamato actively tries to figure out what’s wrong with Taichi and treat him kindly. (Like in Adventure, the only time they break out in a fight is when Yamato gets emotionally compromised and starts worrying that Taichi isn’t doing enough for others’ welfare.) It’s also very consistent with how the two treat each other in Kizuna as well (the izakaya scene comes to mind, and has a lot of similarities to the awkward-but-ultimately-close conversation they have at night in this play).

And, of course, the centerpiece of the narrative overall: the human-partner relationship. Of course, a lot of this was probably helped by Seki lecturing Tani to not mess this part up, but it really is impressive to consider in light of the fact we’re working with a lot of puppets that have handlers clearly in plain view, so you have to have some massive suspension of disbelief to make this work. But not only are the movements well-done to make it convincing that you really are seeing these actors physically interacting with their partners on stage, the narrative also puts huge spotlights on them, making the Digimon outright be the ones to snap their partners out of their worst patterns of thinking (especially with Agumon and Taichi), and dedicating a long period of silence where literal stage spotlights are dedicated to each kid having some alone time with their partner. The intimacy is very convincing, and, truly, Tani’s insistence on making sure every single one of the main Digimon was represented in spite of the prohibitive budget paid off very well. The point is made: a Digimon partner has to be someone who knows you well and intimately and can call you out at your worst moments, and Taichi even spells it out: Agumon’s capable of seeing right through him.

Putting it next to Kizuna -- a movie dedicated entirely to examining the meaning of a partner relationship, what happens when it deteriorates, what that means for oneself, and what it takes to recover it again -- it’s perhaps unsurprising that this play ends on the same line that was used in all of Kizuna’s advertising and was central to its own plot: “We’ll always be together.”

[cosmicjoke]

Well, there’s a book and a half to say about chapter 55 and 56 of Attack on Titan!  I’ll focus on 56, because the whole interaction between Levi and Historia, and that entire scene, is just packed full of so many important details.

 The first thing I picked up on, again, is how Levi takes the time to thank Nifa for riding all night to deliver them Erwin’s instructions.  It seems like a small moment, but Levi ALWAYS does this, and I feel like it’s really important to point out.  He’s the one character who consistently makes the effort to show his appreciation and gratitude towards others for doing a good job, or giving their best effort.  Just telling someone thank you like that can make a world of difference to them, especially when you’re dealing with a world of such desperation and extremity as the world of AoT.  So I just thought that was an important moment to note.

Another big deal in this chapter, I think, was Levi’s further interaction with Dimo Reeves, and the continued respect he shows the man.  Dimo says that him and his men will leave the room so that Levi can discuss the plan with his squad, but Levi insists that Dimo and his men stay, restating that that’s how their agreement works, that they don’t keep secrets from each other, and telling Dimo that he trusts him.  He reiterates this again when Dimo tries a second time to leave.  It speaks volumes about what kind of person Levi is, about his honesty and integrity as a person, that he’s treating Dimo and his men as equals, and including them in on the plan, and not just that, but the entirety of the situation, willing to reveal to them everything the SC knows.  He isn’t treating them as tools in Erwin’s plan, he’s treating them as partners, as people, and showing them respect by making them privy to everything that they’re getting into.  He’s showing Dimo complete trust here, when just a few days earlier they’d been on opposite sides.  Levi even takes the time to welcome Flegel, and once again reaffirm his trust in the Reeves Company.  I find this remarkable, this kind of respect and regard, and, really, this kind of deep humanity we see from Levi.  He treats Dimo and his son and his men with dignity, which is something nobody else has done for any of them in a long time, it seems.

Of course, this leads into the big scene between Levi and Historia.  I read a brilliant meta on this recently, where the writer pointed out that it’s significant that this scene takes place directly on the heels of Hange and Levi torturing Sannes for information on the Reiss family, because that experience directly influences Levi’s violent reaction and anger towards Historia here, and also explains why it is Levi forgot to tell his squad about who Historia really is, and the almost embarrassed look on his face when he realizes this.  Levi is still obviously bothered by what both he and Hange did to Sannes, enough so that he becomes distracted and forgot to reveal an obviously vital piece of information.  

What’s really interesting about this scene though is Levi’s reaction when Historia, initially, refuses to become Queen, insisting that there’s no way she can, insisting that she isn’t “fit”.  Levi gets about as pissed as we’ve seen him up to this point at this, and actually, physically attacks Historia by lifting her off the ground.  What’s interesting is Levi’s reasoning behind his anger.  Historia is being horribly timid and indecisive here, claiming she can’t be queen because she isn’t fit, essentially saying because she isn’t good enough.  This kind of timid shirking of responsibility, in the face of what Levi’s just had to do to get the information needed to perform a successful coup, would be pretty maddening.  He’s just had to dirty his hands by torturing a man, and here Historia is, flatly refusing to step up and make that experience mean anything.  We know how Levi can’t bear to let people sacrifice their lives for no reason.  I think the same applies here.  Levi can’t bear to have engaged in something as ugly and awful as torturing a man for information, with nothing to show for it in the end, with nothing gained for the effort.  Historia’s behavior here must seem to Levi very self-indulgent.  He goes into a long speech after he drops her, asking his squad members, after they yell at him for going too far, what all of them will be doing tomorrow.  Asking them if they think they’ll have food on their table, or if they’ll get a good nights sleep, or if the people around them will still be there.  He then tells them he never thinks so.  

Levi is essentially telling his squad that because of the world they live in, nothing is guaranteed, and nothing can be taken for granted, and the kind of fear they all live with of never knowing is something he wants desperately to rid the world of.  This life of being trapped and stuck and always living in fear and uncertainty.  There’s nothing worse than that.  He talks about being willing to be the one to do the dirty work, to get his hands dirty, in order to prevent anyone else from having to do the same, to have to carry the burden of that, and in order for the nightmare of their desperate existence to finally come to an end, to save everyone from having to sit there and worry if they’ll be able to eat the next day, or if their friends will still be alive.  Levi calls himself abnormal here, and says it’s probably because he’s seen so many abnormal things, but he’s willing to be that, willing to be the freak or the “bad guy” if it means no one else has to deal with it, has to go through such horrible experiences of loss and pain and guilt.   This, again, is an awesome example of Levi’s selflessness.  He knows everyone in that room is looking at him with revulsion and anger, that they think he’s being a terrible person and cruel.  But he doesn’t care.  He doesn’t care what they think of him in that moment, because the lives of so many other people are at stake, and he knows if Historia refuses to take on her role as Queen, so many more are going to die.  This coup is happening, regardless, because the standing Monarchy has proven itself unwilling to put the lives of the people ahead of its own interests, and without a peaceful transition of power to overthrow a corrupt government, more lives will be lost.  In the face of that, Historia’s meekness and uncertainty is glaringly petty and unimportant.  

I also think Levi is, again, pulling from his own experiences growing up, the poverty of living in the Underground and having nothing.  Being on the fringes of society and abandoned and uncared for by a ruling government, left to starve and rot beneath a thriving, wealthy capital.  Dimo later defends Levi when his son starts talking smack about him, and remarks that a man like Levi, who is awkward but kind, must have come from absolutely nothing.  He defends Levi to Historia too, telling her he might be scary, but he’s not a bad guy.  He calls Levi kind, even after what happened with Historia.  Because he understood Levi’s violence here, when no one else really seemed to.  He understood that it was coming from a man who had to fight all his life just to survive from one day to the next, never having any certainty in what tomorrow would bring.  He understood that Levi’s compassion towards the downtrodden, like the people of Trost now are, is coming from a place of personal experience, and so he knew Levi would keep his word to help them, even though he didn’t have to and it gained him nothing.  Because Dimo perceives that Levi knows what it is to have “absolutely nothing”, he then sees the genuineness of Levi’s compassion and the inherent kindness in him, and his sincere generosity and thoughtfulness, underneath his brusque and rude manner.  When Levi asks his squad if they think they’ll have food to eat the next day, or if they’ll sleep well, I think he must be remembering his life in the Underground, when even simple, basic staples of living like that were never a sure thing.  

Levi’s frustration and anger with Historia here is because he knows there isn’t any time for that kind of self-involved mindset.  Levi’s made sacrifices to get them to this point, as has Hange, as has the entirety of the SC, and Historia is threatening to render all of those sacrifices moot and meaningless because she’s... insecure.  Again, Levi can’t bear meaningless sacrifice.  So he gets incredibly pissed, and because, as always, Levi has so much trouble expressing himself through words, this is how he goes about trying to make Historia understand the importance of her part in this, how vital it is to so many other people’s lives that she step up and become Queen.  

It’s interesting too that this outburst on Levi’s part comes right after he expresses and shows so much trust and respect towards Dimo and his men, because it gives us such a clear picture into how Levi treats people with so much thoughtfulness and understanding for their position, but how he often struggles to express those things in words.  That, too, speaks the the kind of life Levi had growing up.  A world where social niceties and politeness were nonexistent.  Levi has such a pure, good heart, but he has no refinement or charm, and he’s no good at talking to people.  That inability to make himself clear or understood also leads to frustrated and angry outbursts like this, I think.  He wants Historia to understand, to realize how she herself is being foolishly selfish by letting her insecurity keep her from doing the right thing, but he doesn’t know how to make her see it, so he picks her up and yells at her.  

Anyway, that’s what I’ve got for these two chapters!  

Oh, and also on a side note, Armin was creepy as hell in chapter 55, lol.  Armin is an interesting character, because he seems so timid and nice, but he’s actually one of the most manipulative characters in the series.  Of course he’s one of the few that understood early on that in order to gain something, you have to be willing to make sacrifices too.  But his manipulativeness is a trait of his that sticks out pretty prominently at times, and so I always find it strange when people talk about what a sweet or caring person he is.  I do think Armin cares about his friends and comrades a lot, for sure, but he’s also a little scary in his deviousness, in how good he is at knowing how to get people to do what he wants.  

[incorrectlumityquotes]

FULL REVIEWS: “Understanding Willow”

Damn this episode was hyped up. Everyone was looking forward to this. Everyone wanted to know how this was going to go down. I did too and when we got it we were not disappointed. 

However it did prove why I don’t participate in fan theories because we’re all usually wrong all the time. So I say just shut up and be patient. But enough of why I’m not invited to discussions. Lets get it on!

We start the cold open with a Skara sighting! I still think her design is cute. She inviting her friends to her fifteenth birthday party. Neat. We see a bit of Amity’s dynamic with the two. Boscha is actively mean to Willow and Luz while the other two seem more neutral. 

“It’s fun because it’s stupid.” This was hilariously adorable. 

This was adorably hilarious.

Again we get another quick shot of how Boscha and her group pick on Willow. Skara doesn’t actively join but she does laugh at Willow which does suck. And we know Amity used to put down Willow too. My lumity loving heart is guessing that she’s stopped because of Luz’s influence but it’s just a guess. Still not cool that she doesn’t stop Boscha but that’s for another episode.

That must be an odd sensation.

We cut to photo memory class(?) and it’s big brain time again. What track would this be in? What purpose would this serve? Who would need to pull out memories with tweezers? If this process could permanently damage a person why would you let teenagers do it to other teenagers? It’s a madhouse I tells ya. A madhouse.

Anyway. 

So Willow was always a cutie.

Luz notices the Amity memory, but Willow asks her to drop it and leave it alone. Which she doesn’t do. It’s another character flaw of Luz that we’re going to see more of. She always has good intentions but she tends to overstep her bounds. It’s (to me) another form of being innocently insensitive, a common character flaw in characters like Luz.

Amity notices the memory too when she passes by the room. She wants to put their previous friendship behind them and does the reasonable thing of setting the memory on fire. Which sets all the memories on fire because of course it does. It’s fire! Dammit Amity, I thought you were the smart one. 

“I’ve connected the dots.” “You haven’t connected shit.” “I’ve connected them.”

We start the B-plot with Gus. Apparently after being kicked out of the Human Appreciation Society, he’s been looking for another club to join and is trying the school paper. He has to interview someone to get in but can’t decide on who.

Is it hot in here or am I just dying?

Willow starts freaking out and getting all sweaty and everyone (you included) figures out why immediately.

And there it is.

So Willow is going to to bye-bye for good unless they do something. So Luz takes everyone to the smartest person she knows because it’s clearly not Amity right now.

It’s a good thing you went to Eda and not a teacher or Willow’s parents.

So Eda explains that they can recover Willow’s mind before all the memories are permanently destroyed by physically sending someone in there to recover and repair the memories.

“Be still my fantasy loving heart!”

I agree with Luz. I love the journey to the center of the mind trope. But Eda believes in the buddy system so someone has to go with her and since we need Gus for the B-plot, it’s Amity.

Luz and Amity enter Willow’s mind and it takes a quick second to organize itself to a form that they can perceive because it’s the mind. That’s kind what it does. It likes to organize things to recognize patterns and because magic. 

Luz and Amity start fixing the memories. Apparently, Willow and Amity were really good friends when they were little and even Amity feels bad about almost getting rid of them. But there’s one memory that Amity doesn’t want Luz to see. 

Meanwhile in the B-plot, Gus is still trying to find someone to interview. Eda suggests herself because she’s Eda, and King demands attention. They don’t care about Gus’s whatever; they just like attention.

Back in Willow’s mind, Luz and Amity are going a good job repairing the memories but something is undoing all their work. We get a cute moment between Luz and Amity that I want to talk about more when I do my lumity analysis after I finish the reviews.

BTW, I’m going to do a lumity analysis.

They discover that the monster undoing all their work wasn’t actually that one fire Digimon whose name escapes me, but was actually the Inner Willow. The Inner Willow reveals that Willow actually resents Amity for ending their friendship and letting her new friends pick on her for years.

Now she has the opportunity to let out all her anger and hate like The Emperor’s dialogue in a STAR WARS movie. I know I’ve made that joke before but it still applies. 

Inner Willow plays back the memory of when Amity ended their friendship. We know they said that Amity did it because Willow was bad at magic but the acutal memory is a little off. Amity reveals why as well as the truth on why she really ended her friendship with Willow.

Amity’s parents never liked Willow because she wasn’t from an elite witch family. Of course Amity didn’t care. She was a little kid and kids don’t care about stuff like that. Amity’s parents say that she can have one of the friends that they picked out for her. (So Amity’s parents don’t even see Skara and Boscha as people either, huh?) Turns out they were brats even back then too. I guess Skara mellowed out over time. When Amity refuses, her parents promise that they’ll use their influence to make sure that Willow can’t get into Hexside.

This a threat but I always wondered why it was a threat. The best guesses are that Amity and Willow wouldn’t be able to see each other at all, Willow wanted to go to Hexside, Hexside is one of the better schools on The Boiling Isles, Hexside was the closest school to Willow’s house and going somewhere else would be too much of a pain in the ass. Whatever the case, the threat worked and Amity broke off their friendship in her birthday. Amity’s, not Willow’s. Pronouns.

Amity can’t undo the years of pain she’s put on Willow, but she can promise to make things better from now on. Amity apologizes and promises that she will try to stop Boscha and her gang from picking on her. Egg on her face, huh?

Hayden Christensen is going to show up next. I can feel it.

Luz and Amity repair the memories and leave Willow’s mind. In a very mature twist for a Disney show, Willow admits she can’t forgive Amity yet. There were literal years of pain between them. But it’s a start. And the episode ends with Gus interviewing Hooty and that goes exactly the way you think it would. Hoot.

FINAL SCORE: 5 - Loved it.

This episode was everything people wanted and more. The drama, the depth, the heart all came across strong here. Not a major turning point for the plot (because I know some people who dismiss every episode that isn’t about the main plot as filler. BTW fuck you guys), but this was a major turning point for the characters. Luz may be the main character of the show, but the main characters of the episode were Willow and Amity. 

If I had to find any faults it’s that I didn’t think the B-plot was that great. I don’t think Gus is very funny yet. Especially when you put him next to two comedic powerhouses like King and Eda. Other than that, this was a mind blowing episode. And it’s not even the first one!

[fakeikemen]

The Roku/Sozin ancestry plot twist for Zuko

Like I’m sure this has been said before but the twist about Zuko being a descendant of both Roku and Sozin is actually a disservice to his character and his narrative as well? The way the narrative frames this reveal along with Iroh's dialogue, it backtracks on a lot of the story we are shown in Book 1&2 (and sometimes it even clashes with some dialogues in Book 3).

Iroh: “Because understanding the struggle between your two great-grandfathers can help you better understand the battle within yourself. Evil and good are always at war inside you, Zuko. It is your nature, your legacy. But, there is a bright side. What happened generations ago can be resolved now, by you. Because of your legacy, you alone can cleanse the sins of our family and the Fire Nation. Born in you, along with all the strife, is the power to restore balance to the world.”

1. This implies that there are equal amounts of good and evil in Zuko and his internal struggle is about choosing one of them.

The core qualities of Zuko as a character are empathy, compassion and kindness. A person who always gets upset when he sees or even thinks about other people in pain, a person who spoke out against powerful people to save lives that were being sacrificed needlessly, a person who shows mercy to people who don’t deserve it, a person who is willing to reach out a hand to save the life of the man who tried to kill him, a person who avoids fights when possible, a person who is willing to fight on behalf of a family he has known for only one night, a person who reaches out to sympathise after being yelled at— a person like this is definitely not struggling with equal parts of good and evil within them.

Zuko does have two selves, but they can be categorised as pre-scar and post-scar.

His pre-scar version is the version who was unabashedly kind and compassionate, who spoke his mind without thinking of consequences. But his post-scar version was a cover up of the pre-scar version. It was a lie that Zuko lived everyday. He convinced himself that this was how he had to be; because this was what Ozai wanted him to be and that there was no other way.

And yet, when the situation is dire and he is depending on his instincts or when he is given a free choice, we see the pre-scar Zuko spring into action. Because that’s who he really is. It’s not a struggle between good and evil within him, it is his supressed self making an appearance when he slips up and fails to maintain his facade.

Perhaps the line that describes his internal struggle the best is this:

Zuko, imitating Iroh: Zuko, you have to look within yourself to save yourself from your other self. Only then will your true self, reveal itself.

And while this dialogue was played for laughs, it is the most accurate description of how Zuko had to reach for his suppressed self, his real self, to save himself from becoming what Ozai wanted him to be.

2. It also implies that Ozai and Ursa had equal influence on Zuko's upbringing and that he struggled to chose between what was taught to him by Ursa (good) and Ozai (evil).

The idea that Zuko has equal amounts of good and evil inside himself goes hand in hand with idea that the good and evil traits in him have been passed onto him by Ursa and Ozai's upbringings respectively which are legacies of Roku and Sozin.

I don’t need to look any further than “Zuko Alone” to know that Ozai's impact on Zuko's upbringing was slim to none. The flashbacks that we see, are dominated by Ursa's presence. Ozai hardly gets any time onscreen. And when he does, he is shown as a silhouette and when he isn’t a silhouette, we only see him smile at Azula's display of skills and frown at Zuko's attempt.

Ozai was Zuko's father alright, but never in the ways that mattered. We know that Ozai abused Zuko. He constantly belittled him and compared him to Azula. Partially because Zuko lacked the natural talent that Azula had and partially because he lacked the ruthlessness and cruelty that Azula displayed even at her age.

Which made Zuko copy Azula's behaviour to get his father’s acceptance. But whenever Ursa noticed this, she immediately corrected Zuko and clearly told him that it was wrong.

Ozai is never shown to tell Zuko that whatever Ursa told him was wrong. Ozai personally never taught him anything (except that one time). He appreciated Azula's behaviour and encouraged her to keep it up but he just kept on expressing his disappointment in Zuko.

Ursa: Remember this, Zuko. No matter how things may seem to change, never forget who you are.

Zuko's innate kindness and compassion were protected by Ursa in the formative years when he was at his most pliable. And this is why no matter what happens, he never loses these qualities and is able to retain his real self even after he tried hard to suppress it.

3. It diminishes the extent of psychological damage and trauma caused by the scarring incident.

The one time Ozai did take it upon himself to teach something to Zuko:

Ozai: You will learn respect, and suffering will be your teacher.

(Notice that here too Ozai's form is silhouetted against the light behind him.)

The scar is so much more than just a scar to Zuko. It is the one lesson that Ozai taught him. The scar exists because of Zuko's innate compassion. It was put on his face in an attempt to burn out his compassion. It was put there to be a constant reminder of what would happen if he dared to do something that went against what Ozai wanted from him. The scar was Ozai’s brand on his face. It took away Zuko's autonomy to make decisions for himself. It was a constant reminder that Zuko’s opinions didn’t matter.

Post-scar Zuko is Zuko's attempt at supressing his real persona to become the person Ozai wanted him to be, because he learned the hard way that he didn’t have the choice to be anyone else.

In fact, the first time Zuko makes a deliberate choice to go against what was expected of him, (letting Appa go) he succumbed to a fever. His emotional turmoil of coming to terms with the fact that he didn’t need to listen to Ozai and abide by him; a notion that he had been force feeding himself, everyday, for the last three years, manifested itself physically in the form of a fever. That was how deep the psychological damage caused by the scar was. (I hate it when people call it an angst coma.)

Saying that Zuko was struggling with equal amounts of good and evil within him, oversimplifies the complex emotional trajectory he had about coming to terms with the abuse he went through and reclaiming his autonomy and his personal opinions and beliefs, into just a choice between two aspects of his personality.

Zuko: I wanted to speak out against this horrifying plan, but I'm ashamed to say I didn't. My whole life, I struggled to gain my father's love and acceptance, but once I had it, I realized I'd lost myself getting there. I'd forgotten who I was.

4. This implies that Zuko's destiny was pre-determined.

Iroh said in the dialogue that Zuko was born with the power to restore balance in the world and that only he could do it.

Zuko, the character who has always had to struggle to gain what he wanted is suddenly told of an advantage that he had just by the virtue of birth? Kinda defeats the purpose of: "Azula was born lucky; I was lucky to be born", if you ask me.

And even more importantly, he let go of the destiny that Ozai forced on him, only to take on another predetermined destiny; a destiny that was his to fulfil by the virtue of birth, and took steps to fulfil this other destiny, instead of making a destiny of his own and paving his own path to it by making the choices that he had been denied for so long because of Ozai. Which seems weird because all the other times Iroh talks to Zuko about this topic, he always emphasises on how it’s Zuko's choice to make his own destiny:

Lake Laogai:

Zuko: I want my destiny.

Iroh: What that means is up to you.

Lake Laogai:

Zuko: I know my own destiny, Uncle!

Iroh: Is it your own destiny, or is it a destiny someone else has tried to force on you?

Zuko: Stop it, Uncle! I have to do this!

Iroh: I'm begging you, Prince Zuko! It's time for you to look inward and begin asking yourself the big questions. Who are you, and what do you want?

Crossroads of Destiny:

Iroh: Zuko, I am begging you. Look into your heart and see what it is that you truly want.

Western Air Temple:

Iroh: You know Prince Zuko, destiny is a funny thing. You never know how things are going to work out. But if you keep an open mind, and an open heart, I promise you will find your own destiny someday.

5. It indirectly implies that the good™ in Ursa and Zuko exists because they are a part of the Avatar's legacy.

Making Ursa a daughter of a nobleman (as intended originally)* would’ve served a much better purpose for the message that the episode was trying to get across: “the Fire Nation isn’t inherently evil”.

Katara: You mean, after all Roku and Sozin went through together, even after Roku showed him mercy, Sozin betrayed him like that?

Toph: It's like these people are born bad.

Aang: Roku was just as much Fire Nation as Sozin was, right? If anything, their story proves anyone's capable of great good and great evil. Everyone, even the Fire Lord and the Fire Nation have to be treated like they're worth giving a chance.

Had Ursa not been Roku’s descendant, then there would've been people other than just Roku and his descendants, who were Fire Nation and good™. (Iroh is literally the only exception.)

Moreover, Azula is just as much a part of “Roku’s legacy” as Zuko is, and yet is completely overlooked when it comes to it. She isn’t shown to be struggling with equal amounts of good and evil. She isn’t gifted at birth with the capacity to bring balance back to the world. It appears as if she had inherited only “Sozin's legacy”.

So, not only does this Roku/Sozin twist go against Zuko's fundamental characterisation, but it also partially deconstructs the narrative that had been carefully set up for him over the course of 2 seasons.

*(I have been looking relentlessly for the post where I saw two screen caps of the two different characterisations of Ursa: 1. Ursa as we see her in "Zuko Alone"; 2. Ursa as Roku's descendant. And I can't find it now otherwise I would've linked it.)

[itsclydebitches]

Hello again! Im the tinfoil hat anon with the long ass asks and I finally had the time to read your response. Thank you, it makes my day reading your answers. I honestly just enjoyed them over a cup of coffee like a good book.

Now, the gun pointing scene I mentioned was in fact the one from the droid fight facility like the other anon suggested. But I really liked that you covered the boat scene too, I haven’t thought of it much myself and now I definitely have!

I also would like to mention I love your “candy bar” choice analogy and I 100% agree Hunter’s “invitation” to join back wasn’t welcoming in the slightest. It is very likely just an obligation as you said. Sort of “you gave us a chance, we owe you a chance too”.

And the problem with it is now I am struggling to figure out how the batch members might change their attitude toward Crosshair going forward, especially Hunter. As of right now Crosshair’s best relationship is not with his brothers but with Omega(as surprising as this is). And I think he does realize now she cared about him the most out of all of them during the short time they interacted(both 1st and last episodes). Even between themselves(not counting Omega) I find most of the bad batch members to be cold and distant to each other. They feel less like a family than Rebels for example. And they aren’t even a “found family”(a trope everyone loves) but an actual one! And I get that they’re soldiers and supposed to be tough, I don’t expect them to share all “the feels”. I just can’t put my finger on it but something feels off. I agree with your previous post, the show doesn’t do a very good job showing or even telling they love each other.

Will Hunter and co only start caring about their brother again only after he leaves the empire?(assuming he does at some point). What about Disney’s prevailing theme and message that “family always love and care for each other no matter what”? I guess it’s “family always love and care for each other but only if you’re good guys making right choices”. There is no room for mistakes or wrong decisions. In the last episode everyone form the batch seemed to have given up on Crosshair(besides Omega). For now their attitude seems to be just “you’re not our enemy” and that’s that.

I realize Crosshair is a “bad guy” and consciously made his choice(and we know it’s the wrong one) but to me it felt like he thought he didn’t even had a choice or rather became so lost and confused he actually thought he chose the empire as “the lesser evil”(as in the less shitty choice out of all the other bad ones). We as audience have the benefit to know exactly how atrocious the empire really is but maybe Crosshair still doesn’t realize that.

So what exactly must Crosshair do to get back “in their good graces” as you say? Start saving “the good guys”? Save the bad batch multiple times? There is a popular opinion on how Crosshair can redeem himself. That he eventually heroically sacrifices himself to save them. I personally REALLY hope it’s NOT what’s going to happen but I heard so many people speculating his story is set up to be redemption=death. I know you mentioned you don’t want “Vader style redemption” either. Personally I think it would be a waste of a character who has a lot of potential. And I just think that the batch kind of don’t really deserve his sacrifice(maybe save for Omega) after how they never tried to save him themselves and how they treated him overall. Maybe he will risk his life to save Omega at some point and that will “prove” to Hunter he cares? Although he has already shown he cares by saving her(even if in Crosshair’s own words it’s just so they’re “even”). And the thing is, he doesn’t need to prove that he loves them, he already did that in episode 15 and made it clear he does care. He actually went to extreme by shooting his squad to prove his loyalty. What were the moments the batch demonstrated they care about him? Hunter saying “you never were our enemy” and taking his unconscious body to safety? To me Hunter “not leaving him behind” during bombardment felt more like guilt about the last time it happened and an obligation to Crosshair for helping them with droids, rather than them showing care. And I kinda of think if that was any random civilian(or anyone other than an enemy or a threat) they would carry them out too just because that’s what good guys do and not because it’s their brother. You also mentioned that minutes later Hunter snaps at him with “if you want to stay here and die, that’s your choice” which I agree can be interpreted in different ways. And I think it’s one more point to it being an obligation that in Hunter’s eyes is fulfilled now. He corrected his mistake of leaving a brother behind and saved him this time, now his guilt won’t burden him any longer.

Anyway, I can’t wait for season 2 and I appreciate you and all the anons sharing the tinfoil hat, interacting and speculating together. Those discussions have been a lot of fun!

TLDR: How do your think the relationship between the brothers will mend or evolve in the next season? Do you think S2 will improve in portraying the batch more as a family rather than a group of mercs doing missions together? What are your thoughts on the popular idea of Crosshair’s redemption by ultimate sacrifice? As in, how likely do you think this scenario is?

Anon, that is just wonderfully hilarious to me. Ah yes, the sunrise, a good cup o' joe, and the overly long character analysis of a snarky, fictional sniper. Exactly what everyone needs in the morning! 😆

You know, TBB is far from the first show I've watched where there's an obvious, emotional conclusion the creator wants the audience to come to—the squad all love each other Very Much—yet that conclusion isn't always well supported by the text. It creates this horribly awkward situation where you're going, "Yes, I'm fully aware of what the show wanted to do, but this reading, arguably, did not end up in the story itself. So what are we talking about here? The intention, or the execution?" It's like Schrödinger's Bad Batch where the group is simultaneously Very Loving and Very Distant depending on how much meta-aspects are influencing your reading: those authorial intentions, understanding of how found family tropes should work, fluff focused fics/fan art that color our understanding of the characters, etc. And, of course, whether someone saw TCW before they watched TBB. I personally wouldn't go quite so far as to say they're "cold" towards one another—with Crosshair as an exception now—but there wasn't the level of bonding among the squad that I expected of a show called The Bad Batch. Especially compared to their arc in TCW. The other night I re-watched the season seven premiere and was struck not just by how much more the squad interacted with each other back then, but how those interactions added depth to their characters too. For example, Crosshair is the mean one, right? He's the one picking fights with the Regs? Well yeah... but it's also Wrecker. While they're trying to decide what to do with Cody injured, Jesse calls out Crosshair on his attitude—"You can't talk to Captain Rex like that!"—and Wrecker's immediate response is, "Says who?" and he hefts Jesse into the air. And then he just holds him there, clearly using his superior strength to do as he pleases, until Hunter (sounding pretty angry) tells him to put Jesse down. If Wrecker had put him into a more classically understood bullying position, like pinning him to the ground, it would probably read as less funny—less "Haha strong clone lifts Jesse up in the air!" and more "Oh shit, strong clone can do whatever the hell he wants to the Regs and few are able to stop him." It's such a quick moment, but it tells us a ton about Wrecker. That he's going to stick up for his brothers, no matter the context (Crosshair deserves to be called out). That he will gleefully assist Crosshair in bothering the Regs (something that is reinforced when he later throws the trays in the mess hall, after Hunter has already deescalated the situation). That he's likely been hurt by awful treatment from the Regs too. That he'll only listen to Hunter when it comes to backing off. Little of this work—that interplay among the squad that shows us new sides to them other than basic things like "Wrecker is the nice, happy brother"—exists in TBB.

Or, at least, little exists after Omega becomes an official member of the squad.

Because, as said previously, she becomes the focus. I don't mean that as a total criticism. As established, I love Omega. But if we're talking about why the squad can feel so distant from each other, I think she's the root cause, simply because the story became all about her relationships with the Batch, rather than the Batch's relationships with each other. Having dived headfirst into reading and writing fic, it occurred to me just how many of the bonding moments we love, the sort of stuff we'll see repeated in fics because we understand that this is where the story's emotional center is, are given to Omega in canon:

Someone is hurt and in need of comfort. Omega's emotional state is the focus + moments like her being worried over Hunter getting shot.

Someone needs to learn a new skill. Echo teaches Omega how to use her bow.

Someone reveals a skill they never knew they had before. Omega is a strategic genius and plays her last game with Hunter.

Someone is in serious danger and in need of rescue. Omega rescues the group from the slavers + is the most vocal about rescuing Hunter. (Which, again, is a pretty sharp contrast to the whole Crosshair situation.) Omega, in turn, needs rescuing from things like the decommission conveyor belt.

Similarly, someone is kidnapped and in need of rescue. Omega is kidnapped twice by bounty hunters and the Batch goes after her.

Someone saves another's life. Omega saves Crosshair from drowning.

Someone does something super sweet for another. Wrecker gives Omega her room. Omega gives Wrecker Lula.

A cute tradition is established between characters. Wrecker has his popcorn-esque candy sharing with Omega.

Someone hurts someone else and has to ask forgiveness. Wrecker is upset about nearly shooting Omega and they have that sweet moment together.

Note that most of these examples could have occurred between other Batch members, but didn't. Someone could have created a space for Echo on the ship too. Wrecker also could have apologized to Tech for choking him, etc. It's not that those moments shouldn't happen with Omega, just that there should be more of a balance across the whole season, especially for a show supposedly focused on the original squad. Additionally, it's not that cute bonding moments between the rest of the Batch don't exist. I love Hunter selling Echo off as a droid. I love Wrecker and Tech bickering while fixing the ship. I love the tug-of-war to save Wrecker from the sea monster. Yes, we do have moments... it's just that comparatively it feels pretty skewed in Omega's direction.

So, as a VERY long-winded way of answering your question, I think we need to fix the above in order to tackle Crosshair's redemption in season two. Now that we've had a full season focused on Omega, we need to strike a better balance among the rest of the squad moving forward. We need to re-established the "obvious" conclusion that the rest of the Batch loves Crosshair and that's done (in part) by establishing their love for one another too. To my mind, both goals go hand-in-hand, especially since you can develop their relationship with Crosshair and their relationships with each other simultaneously. Imagine if instead of just having Wrecker somewhat comically admit that he misses Crosshair (like he's dead and they can't go get him??), he and Tech had a serious conversation about why they can't get him back yet, despite very much wanting to. Imagine if Echo, the one who was rescued against all odds, got to scream at Hunter to go get Crosshair like Omega screamed at them to go back for Hunter. Imagine if we'd gotten more than a tiny arc in TCW to establish the Batch's dynamic with each other, providing a foundation for how they would each react to Crosshair's absence. Instead, what little we've got in TBB about Crosshair's relationship with his brothers is filtered through Omega: Omega's embarrassment that she knocked over Crosshair's case, Omega treating Crosshair's comm link like a toy, Omega's quest to save Hunter that just happened to involve Crosshair along the way.

Obviously, at this point we can't fix how the first season did things, but I think we can start patching over these issues in season two. It would be jarring—we'd still be 100% correct to ask where this "Brothers love you, support you, and will endlessly fight for you" theme was for Crosshair's entire time under the Empire's thumb... but I'd take an about-face into something better than not getting any improvement at all. It is frustrating though, especially for a show that I otherwise really, really enjoyed. For me, the issue isn't so much that the show made a mistake (since no show is perfect), but that the mistake is attached to such a foundational part of the franchise. Not just in terms of "SW is about hope and forgiveness" but the specific relationship most clones have with each other: a willingness to go above and beyond for their brothers. The focus on Omega aside, it's hard to believe in the family dynamic when one member of the family was so quickly and easily dismissed. I couldn't get invested in Hunter's rescue as much as I should have because rather than going, "Yes!! Save your brother!!!" my brain just kept going, "Lol where was this energy for Crosshair?" It messes with your reading of the whole story, so in order to fix that mistake going forward, we need to start seeing the bonds that only sometimes exist in season one. Show the guys expressing love for one another more consistently (in whatever way that might be—as you say, soldiers don't have to be all touchy-feely. Give us more moments like Wrecker supporting his brothers' bad habits) and then extend that to Crosshair. Which brother is going to demand that they fight for him? Which brother is going to acknowledge that they never tried to save him? Which brother is going to question this iffy statement about the chip? In order to buy into the family theme, Omega can't be the only one doing that emotional work.

Ideally, I wouldn't want Crosshair to go out of his way to prove that he's a good guy now. I mean, I obviously want him to stop helping the Empire and such, duh lol, but I'm personally not looking for a bunch of Extra Good Things directed at the Batch as a requirement for forgiveness. Simply because that would reinforce the idea that they're 100% Crosshair's victims, Crosshair is 100% the bad guy, and he's the only one who needs to do any work to fix this situation. Crosshair needs to stop doing bad things (working for Empire). But the Batch needs to start doing good things too (reaching out to him). Especially since Crosshair made a good play already, only to be met with glares and distrust. He saved Omega! And AZI! And none of them cared. So am I (is Crosshair) supposed to believe that saving one of their lives again will result in a different reaction? That doesn't make much sense. And no, his own life wasn't at risk when he did that, but does every antagonist need to die/nearly die to prove they're worth fighting for? As you say, he's already shown that he loves them, far more than they've shown the reverse. Every time Crosshair hurt them (attacking) it was while he was under the chip's influence. In contrast, the group has no "I was being controlled" excuse for when they hurt him (abandonment). Season two needs to acknowledge the Batch's responsibility in all this—and acknowledge that they're all victims of the Empire—in order to figure out an appropriate arc for Crosshair's redemption.

Right now, the issue is not Crosshair loving his brothers, the issue is how Crosshair chooses to express that love: trying to keep them safe and giving them a purpose in life by joining the organization that's clearly going to dominate the galaxy. The only way to fix that, now that his offer has been rejected, is for him to realize that a life on the run from the Empire, together, is a better option for everyone. And the only way for that to happen is for the Batch to seriously offer him a place with them again. They need to make the first move here. They need to fight for him. And yeah, I totally get that a lot of people don't like that because it's not "fair." He's the bad guy. He's with the fascist allegory. He's killed people and has therefore lost any right to compassion and effort from the good guys... but if that's the case, then we just have to accept that (within the story-world, not from a writing perspective) Crosshair is unlikely to ever come back from this. When people reach that kind of low, they rarely pull themselves out on their own. They need other people to help them do that. Help them a lot. But with the exception of Omega's reminder—which Crosshair can't believe due to how everyone else has treated him—they leave him alone and seem to expect him to fix himself first, then he gets their support. It needs to be the other way around. Support is what would allow him to become a good guy again, not "Well, you'll get our love when you're good again, not before." That's unlikely to occur and, as discussed, it doesn't take into account things like this bad guy life being forced on Crosshair at the start. If the story really wanted this to be a matter of ideological differences... then make it about ideological differences. Let Crosshair leave of his own free will, right at the start. Don't enslave him for half the season, have him realize he was abandoned, imply all that brainwashing, give him no realistic way out, and then punish him for not doing the right thing. This isn't a situation where someone went bad for the hell of it—the story isn't asking us to feel compassion for, say, the Admiral—it's a situation where Crosshair was controlled and now can't see a way out. That context allows for the Batch, the good guys, to fight for him without the audience thinking the show is just excusing that behavior. They should have been fighting from the start, but since they didn't, I hope we at least start seeing that in season two.

Ultimately though... I don't really expect all of the above. The more balanced dynamics and having the Batch fight for Crosshair rather than Crosshair going it alone... I wouldn't want to bet any money on us getting it, just because these are things that should have been established in season one and would have been more easy to pull off in season one. (If the Batch wouldn't fight for Crosshair while he was literally under the Empire's control, why would they fight now when he's supposedly acting of his own free will? It's backwards in terms of the emotional effort involved.) But again, it could happen! I'd be very pleased if it did happen, despite the jarring change. I don't want to make it sound like I think they're going to write off Crosshair entirely. Far from it, I think there are too many details like his sad looks for that, to say nothing of Omega's compassion. But the execution of getting him on Team Good Guys again might be preeeetty bumpy. I expect it to revolve around Crosshair's sins and Crosshair's redemption, even if what I would like is balancing that with Crosshair's loss of agency, the Batch's mistakes, and their own redemption towards him.

Honestly though, I just hope that whatever happens happens soon. It's a personal preference, absolutely, but after a season of Crosshair as the antagonist, I'm ready for him to be back with the group, making the Empire (and bounty hunters) the primary enemy. Whether his return happens through a mutual acknowledgement of mistakes, or through Crosshair being depicted as the only one in the wrong who has to do something big to be forgiven... just get him back with the squad lol. Because if the writing isn't going to delve into that nuance, then the longer he remains unforgiven, the longer some of us have to watch a series while going, "Wait, wait, wait, I really don't agree with how you're painting this picture."

[roseyful]

Mars Red: Edge of the Nightmare - Review

Now, my Tumblr has been a bit quiet lately (been queuing a lot of things so then it wasn’t too quiet during my absence), but it has been for a good reason; last month I was approached [on my private twitter account] and asked if I would be able to playtest a game and write a review, and of course, being someone that enjoys games, especially those that follow an otome style, I had to say YES.

So its proud to say that after a while of playing the game, I finally get to write this review.

Now before I get into the game itself, I would like to take the moment to give appreciation to the team for being so helpful during my time of playtesting the game and before that, as not only would they let us know when there was an issue and the date had to be pushed back, they were so polite and helpful whenever I would run into a problem. That’s something you’d want to see in a gaming company and I’m so glad that my first experience with this company is one with positive results. I personally found no issues with the team themselves, and I do hope they keep this up after the release. Thank you favary for being so lovely and patient with me, and other beta testers.

Mars Red: Edge of The Nightmare was the game that they asked for me to play, however when I originally looked at their website, I couldn’t help but notice that the concept was originally one of a ‘Sound Theatre’, and while I couldn’t figure out what that was, I eventually was lead down a rabbit hole and ended up looking at the other things that Bun-O Fujisawa has worked in. Very interesting stuff, just like the game. However, it’s best to look at his other stuff in your own time.

Please note: I will be keeping this spoiler-free for the sake of letting people go in with no idea of what’s going on besides what I mention and on the website.

Story

The game is set in the early twentieth century in Japan, or better known as the Taisho, in which the website also says ‘[is] influenced by Romanticism’, in which vampires rule the night, as they could only feed off blood and those that stepped into the sun would surely die. Keen senses, incredible physical abilities, and yet they were still vulnerable. You see that very early on with the main character that we play as; Yutsufusa Yuki, a vampire whom became one against his will.

I will be honest, I did not like Yutsufusa when I first started playing, as I felt like he was a bit too willing to die, but that is something that you can overlook when you get further into the story. Yutsufusa is obviously one of the youngest in the group, due to the fact he wears the more ‘modern’ [at the time] clothing out of everyone, well, there is someone else who wears similar clothing but he’s human.

You control Yutsufusa throughout the game, influencing his voices and living his life through his eyes, him acting as the reader insert as you learn about the other characters and begin to grow a bond with them. While the story is a bit slow at first, it does start picking up around the middle-end of chapter 1 and the beginning of chapter 2 after you play the prologue, as you begin to assist “Code Zero” in their work to rid the world of vampires that wish to feast on humans..

Be mindful that there is an anime, however, Yutsufusa does not appear in it, as it focuses on the other main characters, so if you have watched the anime already be sure to remember that they’re either two separate timelines or different points in time. I do not want to confuse anyone with this.

The main cast is quite an interesting bunch, as it covers a wide range of personalities, and sometimes even time periods as you play through the game and unlock things; you might say you might learn a bit of history from it if you end up looking up some of the references I’ve found in the game. This is a great reflection on the idea of ‘immortality, and even has moments where said immortality leans into a few jokes (such as knowledge of birds).

If you’ve played games such as ‘Ikemen Revolution’, you may be familiar with the ticket system. Every day you’re allowed a certain amount of tickets to progress through the story, however, if you run out of tickets and you must read more, then you’re able to progress the story via using ‘amber’, the game’s currency that you can use for different functions. However, this is not needed, as every day your tickets will be replenished. I personally found myself not even needing to use my amber, as I would always wait for the next day. There are mini-stories that you can get if you finish a chapter within a certain amount of time, but I personally don’t find them to progress the story a lot after I read the first one I got. Then again I had other things to occupy my time while I wanted as well. If you wish to reread chapters, you get a bonus third option of currency; coins. Coins can be used to reread chapters in the place of amber or tickets, which means that you can grind out coins via the exploration option in order to see more options (looked at a bit later).

I personally found the story to be engaging, between the use of minigames (or investigations, covered a bit later), it broke up the reading with fun activities that progressed the story.

Is the game an Otome?

No! I was shocked as well when I saw the all-male cast since I was wondering if I was playing a boys love game, but in the end, I was pleasantly surprised to find out that this is actually a detective game. While it may carry the usual look of an otome, with the story and choices of how you speak influencing the endings of chapters, the game more feels like one of finding new friends and solving kick-ass investigations than finding romance. It’s refreshing.

This is especially true between the minigames in which helps influence the story that is all very unique in their own way and do not seem repetitive once you get into the flow of how they work.

Minigames

The minigames come forward in two forms; investigation, interrogation, and infer. Investigation sounds exactly how you’d expect, as you have to poke around and look at things, which you can review in a little notebook that sits in the top right of your screen in the case you need to review what you’ve looked at. When I was first launched into this section for the first time, I had a little trouble remembering exactly what I needed to look at (as I was given a set of things to tap), however, I do have to thank the team for thinking ahead and adding the option to be able to watch ads in order to see what you need to do. This was one of the two times I’d have to watch ads, as they don’t shove them in your face every few seconds like most mobile games do which is rather nice. Sometimes you gain information or items that you have to use later, so it’s a good idea to keep track of what you look at.

Interrogation acts as a question-based information gathering, in which you talk to NPCs in order to gather information to use in the investigation. Like Investigation, these points are put into your notebook for later.

Infer takes the first two investigation segments and combines the information, as you now get interrogated by one of the main characters, and you must respond back with the proper information in order to make sure that this segment is successful. You are able to read back on the notes from the other segments at this point by pressing the button with the book icon in the upper right corner, as this aids you in selecting the right answers. When I first came to this section, I did feel under pressure due to it, but it was interesting to see the negative answers from the character if I got it wrong.

Exploration is another part of the game, that while outside the story, there are parts that require a certain amount of story points in order to clear ‘point blocks’. This is where you get the coins from and frankly is good to use once you have finished using all your tickets for the day and want to use the rest of the time to grind coins. During the exploration, you set up 2 characters, a place, and a set [in real life] time of how long you want them to be out and about. Depending on the number of points earned, you may earn something called a ‘mummer’, which reveals more about the characters you chose to send out, and even get dialogue of the characters interactions (which can be pretty funny in itself) that shows the dynamic of the two characters- are they friends? Are things tense? You get to learn more by sending them out together.

Artstyle

As an artist, I was incredibly pleased with the art of the game, as the characters do not look the game, there are different body types and ages (from teen to elder), you never had to look at the same face twice for two characters. I will be honest, I do wish the characters were a bit more ‘animated’ with their expressions (such as body movement when they’re feeling certain emotions), however other than that, the sprites are magnificent.

The backgrounds are also really interesting to look at and even tell so much story before you even start investigating within the investigation sections. The design team also needs props, because while a few characters are wearing similar outfits, they’re all wearing them in different ways which shows their character and even the way they probably fight. Though I will say I am a bit biased towards Takeuchi, then again, I really enjoy fun and loud characters in general, and his hair is interesting in a sea of mostly black, purple, silver or blonde hair. Maybe will make a fanart of him in the future if I learn to draw his eyepiece. (on that note, please release the full sprites for us artists to reference, we’d love you eternally for it haha).

Oh no, it’s a-

Yes, its a bit of a gacha game, however, you do not need to actually play the gachas in order to progress through the game; it mostly just unlocks bits of story for those that want to have extra stories, or just want that extra dose of dopamine (haha, me). As someone who plays gacha games ever since they turned 13, I was glad that this game isn’t actually gacha centric, and thus is very free-to-play friendly due to this.

Who would I recommend this for and would I recommend it myself?

Personally, I think this is a game that suits the niche of those that enjoy a good mystery and even play those ‘find an item’ games, mixed in with those that enjoy reading otomes and history. Maybe even someone that enjoys theatre since there’s a character that does theatre. Would I personally recommend it? Yes, I would. The game is very interesting and engaging, the staff behind the game are so lovely.

Once more, here’s the game’s website link ❤️: https://marsred-game.net/en/

[silverwhiteraven]

Wings of Broken White - Ch. 3

Tag List: @marichatmay

[ Posted on Ao3 ] [ Chapter 1 ] [ Chapter 2 ] [ Chapter 4 ]

[ Summary: Literal and Metaphorical dirt. ]

Hawkmoth had learned the lesson Monarch did not. Do not mix the positive power of a Blessing with negative emotions. Instead, enhance those negative emotions with the power of something else. Let his Champions be fueled by the opposite of a Blessing, something that haunts and feasts on darkness.

Give them Demons; give them an Akuma.

But still. He knew that he had to pick carefully what emotions he harnessed and the people behind them. Hawkmoth couldn’t afford to lose control of another Champion. And Gabriel refused to risk his son.

So he bided his time, researching and studying whatever he could. And while he waited, he built his public empire, funding his underground renovations and the care needed to keep his wife healthy.

Still alive, Emilie was kept that way in a chemically induced coma to prevent further deterioration. To the public, she was missing. In private, she was under the care of doctors from the world’s best medical center, Mayo Clinic.

Adrien would have been aware of her whereabouts were it not for the mistake and loss of control over Monarch’s Blessing. Gabriel had delayed telling his son the truth, and now there was no way to tell what would happen if he knew; what powers White Rose had truly gained beyond what was originally planned.

The thing is, Hawkmoth would have never surfaced if Gabriel could have prevented it. He was ready to let his wife go. But he still needed to find a way to remove the Blessing from Adrien, so he continued to use the Butterfly Miraculous, continued learning about it and the others.

But Adrien just had to go missing one early morning, barely before the sun had risen. Gabriel couldn't find him, neither could Adrien’s ever-present bodyguard. So in an act of desperation, Hawkmoth was brought to be. He then Akumatized the worried and protective bodyguard, granting him an ability to track down their shared ward.

This only furthered things along and also put them to a grinding stop.

The wielders of the Ladybug and Black Cat Miraculous arose to combat Hawkmoth’s Champion. Rather than admit why he was using the Butterfly in a dark way, he decided to reveal his last-ditch plan that he thought he would never bring himself to use, anyways.

He demanded their Miraculous. He was glad they refused, because he would not trust anyone so willing to give up such dangerous powers so easily instead of using them to protect.

So while plans to experiment with the use of Akumas were furthered, it was the mix of one Blessing and one Hero that halted everything.

Paris had very few albino citizens. It would be almost too easy to track down the potential civilian identities of Chat Blanc. But those white wings tipped in blue, so similar yet so contrasting to the black Starling wings of a younger Adrien? There was no way to deny such a similarity. And the Black Cat Miraculous itself would not change it’s own color scheme on a whim, either. Monarch himself had experimented with designs and color palettes, learning that only significant enchantments and magical interference could cause anything even a noticeable difference, not to mention such an extreme as turning Black to White.

The last nail in that theory's coffin was how Hawkmoth could feel the whispers of the Blessing influencing Chat Blanc. Certainly, it could have been a much older Blessing from a previous Butterfly Holder, but Gabriel highly doubted such coincidences could stack like this.

So, Gabriel accepted the facts. He felt heartbroken for his son that had to fight him, even if Chat Blanc didn’t know who he was fighting behind Hawkmoth’s mask. But he was so proud of him, too. Monarch’s Champion White Rose was doing what he was meant to; protect others from the harm of the Miraculous. And Gabriel’s son Adrien was free to be happy, as happy as he never was when inside the Agreste mansion, even when Emilie was still walking its halls. So Gabriel and Hawkmoth did nothing more than play his part as the fatherly villain.

He really didn’t mind how long it would take for it all to come to a close.

~*~*~*~*~*~

Despite her semi-disastrous first time as Ladybug, Marinette rather enjoyed the side-job.

Akuma’s were few and far between, and oftentimes could be talked down instead of fought head to head. Their abilities oftentimes got dangerous, yes, but Ladybug and Chat Blanc, not to mention the rest of Paris, were more than thankful that their Supervillain seemed to have at least some sort of moral code. He would prevent Akumatized villains from causing mass amounts of damage. Once, he had even taken back the powers and the Akuma that granted them, all because the Champion he had made was being unreasonably dangerous to innocent civilians.

Sometimes, she swore Hawkmoth would Akumatize students just so the whole district would have to let school out early due to the emergency. Maybe he had a soft spot for kids, maybe a child of his own? Either way, she appreciated the breaks.

Soon enough, a whole six months had passed since Hawkmoth first appeared.

The most recent attack had been earlier that evening. Marinette had to distract her Akumatized friend Nathaniel. He was akumatized because of Chloé. She had made fun of his art, at first. Then, to make things worse, she told him that he was right to have his and his boyfriend Marc’s hero-sonas to both be wingless, because the ones Nathaniel had were ‘wasted on his talentless existence’ and ‘if Marc wasn’t already wingless, then they would be utterly useless on him, too’. In general, it was a rather nasty scene.

Marinette had been quick to tell her to back off and leave Nathaniel and Marc alone. Adrien has sprung up right after her, telling Chloé not to talk to his friends like that, and even if she is his oldest friend he wasn't okay with her actions.

Marinette was proud of Adrien for standing up for others in the face of someone important to him. It was brave.

Unfortunately, their combined efforts didn’t prevent the Akumatization. Luckily, Evillustrator wasn’t a bad villain, he just really wanted to mess with Chloé with revenge-pranks.

Marinette got herself caught up in it by distracting him with other ideas. For example, using his power to create objects to set up a date with Marc. Chat Blanc had shown up part way into the setup of said date, and as a way to prevent Evillustrator from starting a fight, she had roped him into helping with the decoration ideas and music selection. He turned out to be a natural with romantic set-ups, and an even smoother talker, convincing Evillustrator to hand over his Akumatized item in exchange for them escorting Marc to the date’s location.

Marinette had managed to step away long enough while Blanc went to find Marc to transform into Ladybug, and called for her Lucky Charm just in case. It was nothing more than a red rose and she laughed happily to have a simple item with obvious intentions.

When Blanc returned, she showed herself and offered the rose to her partner, trying not to be flustered by her own romantic gesture. “Hold this for me, Kitty? I need to make sure their date goes well, and that means Nathaniel has to be here for it. Don’t want yours and Marinette's efforts to go to waste, now do we?”

Then, she took the Akumatized item from Blanc and broke it, purifying the butterfly within.

“What about the Lucky Charm?” Chat Blanc looked a tad confused. “As soon as you call for Miraculous Ladybug, everything Evillustrator made will disappear. Their date will go poof!”

Ladybug smiled knowingly. “Already thought that through. You hold on to that rose, okay? Or maybe let Nathaniel hold it? As long as I can find it again later, just make sure it’s safe. I’ll use Miraculous Ladybug long after their date is over, so nothing will get spoiled. Gotta go, Bug out!”

She returned to the scene as Marinette once more, finding a de-Akumatized Nathaniel on a successful date with Marc, and Chat Blanc still watching over them, happy for the couple. Satisfied, she made her way home, away from the setting sun.

Now, it was completely dark out and Marinette was drinking a thermos of hot chocolate on her balcony, wrapped in a warm blanket. The quiet night got interrupted by a shadow moving over the rooftops, followed by white boots lightly thumping onto her balcony. She sat up, surprised to see Chat Blanc still lurking about the city. He bowed theatrically with a gentle smile.

“Princess, what a lovely evening to see you! I presume I have found you safe and happy in your tower tonight?”

Marinette couldn't help but laugh. “You saw me maybe two hours ago, pretty-gryphlet, you know I’m perfectly fine.”

“True, but as your loyal, trustworthy, and handsome White Knight, I am obliged to check on you anyways.” He had bowed again and taken her hand, kissing the air above her knuckles ceremoniously. She had to fight back both her blush and her wing’s desire to flutter bashfully where they were hidden under the blanket.

“Silly gryphlet,” she smiled, before noticing his gloves were stained and had left some of it on her fingers. Then she noticed the dark spots on his boots and knees as well. She frowned in confusion, inspecting what was on her hand. “Why are you covered in dirt?”

“That dirty little secret,” he deflected the question easily with his pun and a cheeky smile, “I will explain soon. But first, I gotta ask, why do you call me ‘pretty Griflet’? I already know I look amazing, but is Griflet a reference to one of the knights of the Round Table? If so, I am honored to have such recognition.”

Marinette laughed and shook her head. “No, not a knight, a gryphon. You know, a mythological creature with the body of a lion and the wings of an eagle? You’re a cat, and you have wings, hence, gryphlet!” She explained proudly, before realizing how embarrassing it was to nickname one of the local Superheroes and retreated into her blanket.

Chat Blanc blinked owlishly at her explanation, but soon a smile bloomed on his face, and she could swear he was blushing under his mask.

“I like it,” he said softly, looking gentle and earnest.

“S-So anyways! Blanc Chat, I mean, Chat Blanc, I uh, You say were? Were saying? About the, uhm, dirt?” She turned away, grabbing her thermos to keep her hands busy.

“Oh! Right!” He brightened even more, his eyes starting to look like that of an excited kitten. “Come with me somewhere, Princess? I know it’s cold out so I won’t keep you long, but I wanted to show you something.”

She nodded, standing up and setting the thermos aside. Then she hesitated, once more remembering her wings. “I...Blanc, can you keep a secret for me?”

“Of course, what is it?” He looked curious and just so innocent. She couldn’t do it.

“Uh, never mind, next time, okay? I don’t think I’m ready. To say anything, I mean, not that I don’t want to see what you want to show me, but also I’m not ready to go yet for that either, wait, i meant-!” She closed her mouth with a snap, sucking in a breath and letting it out slowly. “What I mean is, let me just get something from my room real quick? I should really put on shoes and something warmer than pajamas. Then we can go!”

“Of course! I’ll be here when you’re done.” Oh Kwami, he was so patient with her, and understanding, too. Could he get any nicer, she wondered?

She fumbled her way back into her room, swiftly putting on a wing-binder, thick white leggings, and a warm long-sleeved baby blue dress. She remembered to grab some shoes, too. As she climbed back up to the balcony, she tried to ignore the fact that she had chosen to wear colors close to Chat Blanc’s. From the look on his face, he was probably trying not to think about it too much, either. “Ready, Marinette?”

“Ready. So uhm, how are we going to get there?” she shuffled on her feet, hands fidgeting.

He grabbed the thermos she had set down and put it into her hands, warming them, and subsequently her cheeks, too.

Politely he asked, “Permission to carry you?”

“Granted? Wait, carry? Like, on your back carry or- Woah!” He answered by sweeping her into a classic princess carry. “Uh, works, I guess, this does? I mean- Okay,” she finally squeaked out.

He chuckled and held her securely, but gentle. “Let’s not waste time. Hold on tight!”

She didn't scream dramatically when he jumped from her balcony, but she also won't admit she might have squeaked again from the unfamiliar feeling of jumping over rooftops while untransformed, let alone while being carried.

But the trip to their destination really was rather short, as only a couple minutes later he was setting her back down on her own two feet.

The rooftop was surrounded by decorative iron fencing. Candles, protected from the wind in glass jars, lined the top of the railing and between the bars. What really caught her eyes, however, where the Lily-of-the-Valley flowers spread around decoratively. She couldn't help but gape at them. The scene was gorgeous, and she wondered why Chat Blanc had brought her here. Did he do this? Was this why he was covered in dirt? She turned to him where he stood looking almost nervous for her reaction.

“Chat...It’s beautiful. Did you set this up? Did you get these flowers yourself?”

He perked up, glad to see she wasn’t reacting badly. “I did. I also learned I’m a really bad gardener,” he chuckled, and she smiled, amused. “And don’t worry, I didn’t steal any of this stuff, it was all mine already. Well, sort of. The candles were my Mother’s, and I use them sometimes. The flowers came from our yard- They would have died soon anyways, the brief warm spell this week made them bloom too early, so I thought I might as well put them to use. So, you like it, Marinette?”

She giggled and nodded, looking away shyly. “Why set all this up, anyways? Special night?”

He nodded, his own gaze shy as well. “Sort of? Ladybug trusted me with something. And earlier today, this amazing girl I know helped me take down an Akuma. So I wanted to prove I can be trusted with Ladybug’s thing, while also getting to show that amazing girl how much I appreciated her, even if it is only for a little bit. Here,” he stepped to the side, bringing Marinette’s curious gaze to a small table she hadn't noticed before.

It had a few more candles and flowers on it, but there was a delicate vase in the center. She quietly gasped as she noticed the red rose, Ladybug’s Lucky Charm, sitting in the vase. Chat Blanc plucked it from its place and held it out to her.

“For the most creative and wonderful Princess in all of Paris,” he smiled, bowing as he presented the rose. He chuckled sheepishly, then, “Well, you can’t keep it forever, because it is Ladybug’s, but I figured that if anyone was worthy of keeping it safe until she needed it, that person would be you.”

Dumbfounded and flustered into silence, Marinette accepted the rose with her free hand.

“Well, I guess I should take you back home now, huh?” He asked awkwardly.

“O-Oh, uh, sure,” she agreed, still distracted as she held the red rose close to her chest.

This time, she was prepared for him to lift her, and she stayed quiet on their way back to her balcony. This time, she noticed how warm he was and just how easy it was to trust him even as a civilian. She wouldn't admit to being sad when he set her down again, though.

“Until next time, Princess; I hope to see you again,” once more he took her hand and gave the air over her knuckles a kiss, but before he could let go, she clutched his fingers tight, pulling his attention up to her eyes.

“Uhm- It’s cold out, and I barely touched my hot chocolate anyways.” She turned his hand over and set her thermos into his palm. “Take it with you. You can return it, next time we meet.”

He beamed at her and nodded. “It’s a date,” he winked teasingly, and she giggled. “See you later, then. Have a goodnight, Princess.”

And just like that, he was gone, and Marinette was left a blushing mess on her balcony until Tikki finally came out and told her to go to bed.

In the morning, the red rose was still where she left it on her desk, proving the night before was no dream. Tikki then informed her that it had slushed a bit while she slept, so she should be careful when she goes outside.

Ladybug went off in the early morning to check on Evillustrator’s reactions, only to find that they had been washed away by the sleet. It seemed that just like all other forms of art, even the magical creations of an Akuma were susceptible to the natural elements when exposed long enough.

So that morning, Ladybug returned an intact Lucky Charm to Marinette’s room, and Marinette got to keep the gift of an everlasting red rose.

[wallwriterstuff]

Hi!What do you think about Demetri/Alec/Felix dating a hybrid?I mean, I had this idea since i read the last book but what if they found their mate when they went to check up on Joham?And one of his daughters is a redhead with unreal green eyes and shes even more beautiful than Heidi or Rosalie? Hybrids are more beautiful than vampires they say.Maybe has a gift too?I think this is an idea the entire fandom went over and i think its cool so if you want to, could u write some headcanons about it?

Hi hey hello! I definitely did enjoy writing these headcanons. Sorry they took a wee while but I hope you like! 

Alec: He will be aged up to the movie version in this since hybrids fully mature to look like adults 😊

This boy is insatiably curious

You fascinate him

You’ve been alive a while but your experience is so different to his, you’ve lived so differently under your father’s influence

Expect long nights telling him every detail of your existence, what it was like to grow up so fast with your sisters, with Joham, knowing your brother only through notes and the occasional visit

He has learned by now that you come as a package deal with your sisters, but this is something he understands. As he and Jane shared a womb, so shall they share a life

Constantly tries to get you to eat human food because oh my god you can eat it without gagging?             +  “And this?”                          “Alec I can eat human food, it just tastes like cardboard.”                    “Even this?”

The first time you sleep in his presence he has this awestruck expression. He’s not watched anyone sleep in all the time he’s been immortal and doesn’t remember what it was like to sleep himself. All those faces you make as you dream send his mind absolutely reeling because what are you thinking about? What do you dream of? Is it bizarre in your head? What he wouldn’t give to catch a mere glimpse of your dreams…

Jane is…difficult. She wants to like you, really she does, but the only other hybrid she knows belongs to the Cullen’s and that whole fiasco is a sore spot as a Volturi defeat in her mind (and no one defeats her coven)

The first time you get a small scrape Alec FreAkS out because oh god you’re bleeding the whole room is going to be after your sweet sweet blood and…and it’s too sweet…you, you really don’t smell all that appealing like a regular human, hell, Santiago’s not even noticed? What?

Always grumbles and complains your too hot when you cuddle (you’re a solid 40°C after all) but secretly loves your warmth. He’s been frozen for centuries and you’re his very own hot water bottle          + Does get a wee bit annoyed when you make him spoon with you later into the relationship because vampires aren’t be able to supposed to sweat but he SWEARS venom is leaking from every pore in his body because you make the bed an oven

15/10 from this boy, adores having a hybrid mate, you are the perfect snuggle buddy for him and just the right amount of human to make him feel like he’s doing a good job protecting you (even though you’re a hybrid and almost as strong as he is, it’s an old timey thing and he died a pubescent boy, let him feel like a man please)

Demetri:

Honestly? He forgets half of the time

“Absolutely not, I will not risk you coming hunting with me!”                “I need to hunt and I will not be letting you stop me, bloodhound.”

When they had first gone to find Joham Demetri had been more than curious, the differences in his mind between vampire and hybrid stark considering they’d almost caused a war with the Cullen’s

He replayed the trial over and over in his mind as he followed the strangely vibrant tenor straight to…his mate?

Excuse you?

It swings one way or the other for the initial getting to know period, either he’s treating your fragile ‘human’ self like glass or your ‘vampire’ self is being thrown against the nearest wall because the man has urges and you’re more than happy to satisfy them

You were mostly raised by your sister, living the nomadic life of a vampire with visits to your father now and then when he wanted to check on your development, so you pair spend long hours discussing all the places you’ve been and things you have seen                    + Since Demetri is far older he has lots more stories to tell so these evenings eventually turn into him telling stories while you end up in a variety of situations. Sometimes he’s holding you to him in bed while he waits for you to fall asleep, other times he lights the fire and you sit curled up together on the sofa before it. 

Your favourite Storytime setting by far is the window seat, where you can lean back against his chest and be blanketed by the diamonds his skin reflects in the sunset

You don’t really like human food all that much, but in an effort to woo you he spent all day watching videos and messing up recipes until he had perfected (if you count perfected as collapsing in on itself in places and a little bit raw in the middle) a chocolate cake to welcome you to Volterra for the first time

There was a little flour on his jaw still when he presented it to you and his eyes were all big

He had this smug little smile too

Too smug considering the state of the cake

You’ve been treated to baked goods ever since and Demetri has gotten rather good at his new hobby

110% watches you sleep but not for nefarious reasons. You talk in your sleep and Demetri has compiled a secret list of things you say for his eyes only            + His favourite so far is “Felix no, put that poor duck down.”                     + You didn’t remember where that had come from so it remains without context, and Demetri has made a myriad of stories each more outlandish than the next as to where that quote came from

Loves to lay his head on your chest and listen to your fast, fluttering heartbeat, you get bonus points if you play with his hair

Doesn’t even bother tracking you by tenor anymore, you radiate heat, he knows when you’re near because he gets warmer

You’re rather self-concious that you live among the Volturi without being gifted             + Demetri is always quick to remind you that your very nature is the most extraordinary gift in itself

Overall a very good match for a hybrid, you’re never bugged by endless questions like your sister is with Alec but you do need to remind him sometimes of your dual-species label, you need blood as much as you need sleep

Felix:

This character follows a specific idea of appearance stated in the request

Felix absolutely adores you, your perfect for him in every way!

Someone small and durable? Sign him up!

Your attitude is as fiery as your hair, which is a good thing because Felix needs someone as stubborn as he is

His head is as thick as his arms

The minute he sees you he’s completely under your spell which surprises only those closest to him – the mans a giant teddy bear as you now well know

Felix takes things nice and slow, he’s never been a fan of rushing into things when it comes to romance, and is very much intro traditional ways of wooing you                  + The first thing you receive is a simple letter, elegantly written in a large spidery hand. You were already smitten with the beefy man by the last line, the flowers that arrived a week later really weren’t necessary but very much appreciated

Your hybrid nature is perfect to him because for once, his height difference with you doesn’t seem so scary. He can’t help being big, but at least with your durability he doesn’t have to worry about crushing you

Felix is considered a grunt, muscle and little else, but he’s shared with you his passion for reading and poetry – you never tire of the poems he creates for you

He’s a very proud man so expect to be shown off to all the Guard and basically everyone you ever meet               + “Enough of your chatter! You know your crime, now face your punishment!”                                                           “ I wouldn’t test my mate if I were you.”                                               “Are you really going to reveal such a tactical weakness? They could target her.”                                                           “…I wouldn’t test this extremely beautiful and talented woman I am in no way connected to if I were you.”                    “Smooth Felix, really smooth.”

Once you feel comfortable with Felix, you show him your gift and its extraordinary effects – his eyes widen at the vivid, ethereal shade of green your eyes turn as you lift a hand and coax all the flora in the room towards you, you can expect him to never shut up about it once he knows               + “Can you make another one?”                                                           “Not unless I hunt first.”                                                        “And then you can make me another flower?”

Felix, it turns out, is a giant goofball when he’s at home. You’re so used to seeing the tense guardsmen it is a complete shock to you when you start living with him in Volterra and see how carefree he is within the walls of his own home

You try not to condone his prank war with Demetri since they both get in trouble for it but you can’t resist helping out from time to time…you can tie off water balloons quicker than he can so you make a good accomplice

Felix doesn’t really touch you in public but he does steal kisses to assert his claim on you. He’ll kiss your forehead whenever he enters or exits a room you’re in, presses kisses to your cheek when you pass each other in the corridor

He reserves a kiss on the lips of any kind for when he’s leaving for a while if in public, like if he’s preparing for a mission with the guard for example, but when you’re alone expect to constantly be coddled by him. He wraps himself around you like a blanket and Will. Not. Let. Go!

[highladyluck]

Here, have 4.5 pages of rambly Tuon meta. I wrote this to try to get a handle on Tuon’s character, and to develop the theoretical framework for a redemption arc for her. I’m hoping posting this doesn’t cut my motivation to actually write it...

Who is Tuon? Tuon Athaem Kore Paendrag, High Lady, Daughter of the Nine Moons; now the Empress of Seanchan (at least on the westlands side), Fortuona Athaem Kore Paendrag. To borrow some phrasing and framing from @websandwhiskers: She’s the pinnacle of Seanchan culture and an extremely functional tool of the state; responsible (both personally and institutionally) for psychologically and physically torturing people and enslaving them; she also has some compelling moral and personal qualities that she and the state have not yet managed to quash, which kind of makes it all worse, ethically speaking. She’s a villain whom the original narrative neither sufficiently condemns nor sufficiently redeems, married to one of the Big Damn Heroes in a match that’s both very odd couple and very complementary.

She respects people who stand up to her, as long as they aren't 'disrespectful' in the process- and the 'disrespect' is very situational, she'll accept things in private or in non-court settings that she can't let slide in court without losing face and therefore power. She cares very much about the legitimacy of authority, because it correlates positively with stability and is ingrained in her self-image, but she has an autocrat’s idea of what is legitimate. She assumes you know your own self-worth in relation to hers and are prepared to both display it and back it up. She has also internalized that other people's challenges of her are opportunities for her to prove her strength and fitness to rule, and she probably low-key seeks to provoke reactions now as validation/training, for herself and others.

She has rigid moral standards within the context she was raised in, and punishes herself first for perceived failure because if she does it first, perhaps she can avoid someone else doing it, with deadlier results. She has never been allowed to be less than perfect by her culture's standards- she can be (and has been) odd, but she cannot be flawed- and possibly expends all of her natural empathy on others instead of herself, because she can't afford that kind of indulgence herself, but she knows she owes it to lesser beings?

And as @websandwhiskers pointed out, she does have a lot of empathy within allowable contexts, and I think she is willing to push the envelope compared to her peers as long as she/the empire isn't directly threatened. That's what the kiss after Mat let the poisonous snake go was about. The snake was poisonous but not attacking, and not likely to attack unless someone escalated the situation, and Mat deescalated it. No harm, no foul. Mat responded to a fraught situation both logically and mercifully, in the way she imagined she would have if she had been in his shoes and known he same facts he did, and she rewarded him.

She’s competent and charismatic; I hesitate to say that she inspires loyalty in underlings because honestly with the damane it’s brainwashing (eurgh). But Selucia and Karede are both really into her, personally, even when there are societal inducements not to play favorites. Mat is loyal to her, though honestly Mat is loyal to like... anyone he’s responsible for, so maybe it’s more relevant to say that Mat genuinely likes her; at least, he likes the person he thinks he can coax out of her, and in terms of the persona she has more typically, I think he responds well to her competency and self-possession. The ability to project those things is probably a big part of what goes into charisma.

She thinks that the people who oppose her just don't have all the facts. She doesn't like to admit she's changed her mind; it looks like weakness; she's fine identifying it in others but not herself. Ideally she would pretend things have always been the way she now knows they are, and if she can't, she goes for the "Yes [fact], but [here's what I've decided is now germane to the argument at hand]." redefinition of the problem. She always thinks she’s right, though she does tend to leave some space between when she’s decided something and when she promulgates the decision, to allow for opposing arguments.

I think the original relationship Tuon has with omens is that she uses them to look for external justification from the universe for decisions she's already made. (I mostly like Sanderson's Tuon POVs, but I also I think Sanderson sometimes used omens as a 'make Tuon do OOC things for the plot' card.) Tuon's running dialogue with omens also shows that she's always observing the world and interpreting her effect on it and its effect on her. She loses her composure with omens when they are more concrete and less subject to her control (via interpretation), as with Lidya's fortune.

It makes sense that she's super controlling. It was how she was raised, and aside from having loyal/brainwashed companions (who are, themselves, a form of distributed control), being controlling is obviously the only thing that makes her feel safe. It's still interesting how it extends into a dialogue with the Pattern itself. Like Mat, she wants to survive and she wants to go her own way, and also like Mat she's caught up in the Pattern a little more tightly than others. I think she and Mat have both subconsciously decided that the only way to deal with what the universe wants you to do, when the universe is that powerful, is to say "Fine, I didn't really want to do that other thing anyway, let's learn how this path works and play to win."

She knows she makes bad decisions when angry, and I think in general she distrusts strong emotions, or at least tries to hold them at arms' length so they don't form part of her judgment. She's very very good at compartmentalizing, but as a result sometimes emotional stuff will come up and blindside her a little because she doesn't prioritize it or see it as a natural part of her decision-making. I think her emotions do influence her, usually subconsciously, but she's obviously a Thinking type. (Mat is also a compartmentalizer, but more somatic/emotionally focused; he's got his feelings directly wired into his body and together they make decisions that his brain then evaluates a second later, with running commentary that he never expresses to anyone else. They are both comedically un-self-aware, although Tuon is even less self-aware than Mat is, since at least on some level Mat knows he's been repeatedly traumatized even if he tries to pretend he isn't, while Tuon still thinks that her childhood was completely fine.)

Within the original narrative, I think her POVs are always a bit mysterious and her actions are always a little surprising. What’s impressive about that is that this is basically *always* true no matter what setting she’s in and what she’s doing. When you’re in her head you see her thought process ticking away, but RJ and Sanderson both have her constantly withholding important contextual details in her POVs, like Lidya’s prophecy (the hints are there and come out in bits and pieces, but she doesn’t reveal everything and slot it into context until 2 books later). Like with reading Mat, you’re aware that she obviously has reasons for what she’s doing and you even see her decision-making process, but because you’re missing the details, she remains opaque even though you’re in her head. (Mat’s decision-making process is more clear to the reader, but somewhat opaque to himself and definitely opaque to those around him.)

Meanwhile the things Tuon does share via narration or via action are always kind of buck-wild for the reader because her entire deal is such a culture shock. She’s obviously surprising Mat & co, but what’s weird is that she also seems to be constantly surprising her fellow Seanchan. Her scenes with her peers are usually punctuated with shocked murmuring in the background. They have trouble anticipating her, both because she keeps her cards close to her chest, and I also think because she’s a slightly different person from the one who lived her entire life in a cloistered murdersphere in Seanchan, and if she wasn’t a different person after leaving home, she’s definitely one after her kidnapping. But I think she is a fundamentally different person after leaving home, because of the structural parallels she has with Mat.

In Mat’s first POV chapter, he wakes up in Tar Valon with partial amnesia and a much stronger sense of self-preservation than he had before. As everybodyhatesrand points out (crediting but not tagging them since I feel like they wouldn’t appreciate being tagged in Tuon apologia), we have never been in pre-dagger!Mat’s head. We have never been in dagger!Mat’s head. Everyone in the books, throughout the books, is like “At least Mat’s still the same!” and yeah, he does do and say more or less the same things before and after the dagger. But we had to take it on faith that his personality is more or less intact pre- and post-dagger because we, the readers, only know post-dagger!Mat’s inner monologues. The Mat we inhabit in book 3? He’s been broken. The continuity between his old life and his new life has been disrupted (and will continue to be disrupted, including with an actual literal timeline reboot!) He immediately starts off to fix himself, others, and then eventually the world, so it’s motivating, but the hits really just keep coming...

Like Mat, Tuon’s first POV only appears after she’s left the traumatic environment that shaped her. We don’t know what travelling across the sea did to her sense of self (and we can’t really know since we don’t have that in-Seanchan-baseline), though we do know she’s changed after travelling with Mat (aside from catching feelings, I think she learned that the Seanchan are not always in possession of all the facts), and we know what becoming Empress did to her (she doubled down on duty and lost a lot of personal flexibility). I think there are major structural parallels between Mat and Tuon’s POVs because they’re both broken people who try their very best to act as if they are not broken. In Tuon’s case I think she just doesn’t know how broken she is. In Mat’s case, he knows, but he’s doing a weird balancing act of integrating lessons learned (healing!) while also, like, frantically trying to ignore or drown out the emotional cost of trauma (not healing!)

By the end of the series I think Tuon knows, but is not letting herself actually think, that being made damane is a) a real possibility for her, specifically, and b) that it is not, in fact, something she would willingly choose for herself even to serve the empire. I think this is different from the more intellectual disgust of the idea of herself channeling; that's abstract, and she imagines there's an actual choice for the person with the spark between channeling and not channeling, or possibly that there's an actual choice between learning to channel vs not learning to channel if you have the spark inborn. (We know that the actual choice if you have the spark is 'learn to channel properly or die'.) Tuon's out there like "If I were a marath'damane I would simply choose not to channel. RIP to marath'damane but I'm different".

She's never been a marath'damane in the sense of someone who started channeling involuntarily, and isn't interested in imagining herself as one, at least not when confronted by someone who is succeeding in making her angry. So even if you made her choose, as a theoretical marath'damane, between dying and learning to channel properly, I think she'd consider 'learning to channel properly' as 'becoming a murderer' and therefore the choice would be between dying and becoming a murderer. There's a clear argument to be made in that idiom that the marath'damane is 'becoming a murderer' in self-defense, which would have a different moral tenor (manslaughter vs murder). But Tuon strikes me as the type to say in an argument (and probably believe) that "The end result is the same & I would die before compromising my principles.”

I think in the confrontation with Egwene she probably internally justified not putting the collar on because there was a Seanchan audience and because the taunt came from an escaped damane, even though the actual reason was fear that it would work. She’s letting the circumstances invalidate the argument so she doesn’t have to think about it. I think if she were to let herself think about the authentic emotional response- and she probably has, I feel like she does a postmortem on all of her public discomposure- she would consciously know that her instinct was that it would work on her, and furthermore she would know that she does not want to be damane, even if the Empire would require her to be.

If she followed out the chain of reasoning, she’d know that if she were a damane, if she were actually leashed, she would be forced to channel. She’d know because she’s taken great pleasure in training and breaking damane, and she knows how to get damane to channel and how to break them. Therefore, if she were damane, she would know that she would need to be broken, and she knows how she would go about breaking herself. She probably thinks that her last act of free will would be to suicide if she possibly could. But I think that what she’s AFRAID OF is that she would actually convince herself that being the very best damane is all she wants out of life. And that's the scary, universe-ending thought she's avoiding the consequences of, because a) it’s about breaking herself (as Cadsuane points out, no one can easily think about breaking themselves) and b) the fact that she would need to be broken and that she doesn’t like the idea is a sign that she’s not the perfect avatar of the Empire that she thinks she should be.

I think becoming damane has been added- in the bare abstract- to her mental list of the price of failure. It's a very fundamental loss of control and identity, where all she has is resignation and brainwashing that- best case scenario- she does to herself. She's scared of it in a way she was not before, now that it's been made personal. Like Mat, she's going to shove that down deep and ignore the bad scary implications as long as she can, up until the point that they actually disable her or otherwise bleed out into her intellectual or physical world in ways that aren't as ignorable.

But while Tuon thinks she would die before compromising her principles, and even more secretly is extremely afraid that she *wouldn't*, I also think that like Mat, if it came down to it she would transform herself radically to survive *as herself*.

She’d realize that she has other principles, more human ones, underlying her socially acceptable and externally imposed principles of enforcing hierarchy and maintaining personal integrity. (Parallels to dagger!Mat being exorcised?) I think her basic motivations are that she should survive, that she should retain as much control/power over her own fate as possible, and that she should make decisions from a place of empathy rather than anger or fear. I think she would also realize that she does in fact value some principles over others. She would redefine the meaning of ‘personal integrity’ to separate it from what the state wants.

If she knew what was really driving her socially acceptable principles, and that there was a difference between what she really, fundamentally wanted & what she had been told to want, with encouragement she could prioritize the organic, primal ones and apply those to the external world. If she is a person, then everyone else is a person, and she should want for them what she wants for herself. I think she might get to the point of realizing there is an alternative path (of what looks like selfishness) but I don't think she's going to let herself be selfish (in this healing, positive way) without external prompting/confirmation, so this is probably where friends, positive role models, and finally omens come in.

[d-criss-news]

Royalties Soundtrack Listening Event | Darren Criss Chat (July 7th, 2020)

Darren Criss 18:02:04

wait ha

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Darren Criss 18:02:08

sorry yall

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Darren Criss 18:02:12

this is confusing me of course

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Darren Criss 18:02:29

this is new for me too friends

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Darren Criss 18:02:45

well i'm here but I can't hear shit so gimme a sec

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Darren Criss 18:04:00

well I'll just keep typing here guys

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Darren Criss 18:04:04

bro

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Darren Criss 18:04:07

wilma

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Darren Criss 18:04:15

i'm tryin

Darren Criss 18:04:57

21kxuv372ubcprrbpiefadt6i

What was your favorite song to write for the show?

They each were really fun so that's hard to say but Hate That I Need You surprised the hell outta me

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Darren Criss 18:05:30

bettic72

darren non capisco un cazzo

anchio pero sti cazzi siamo qui

Darren Criss 18:05:49

genevievephillips

point and laugh at darren

yes let's laugh at him

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Darren Criss 18:06:18

2162bkuccm7xje6yfgmuzrnyq

You inspired me to write my own songs 🥺👉🏼👈🏼

thanks for writing the first positive thing I've seen on this. That's wonderful! I hope to hear them!

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Darren Criss 18:06:43

clo :)

i love that we are all grandparents when it comes to this

thank you for using the appropriate WE pronouns ha yeah this shit is confusing

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Darren Criss 18:08:44

zcvmtsgee5mom80oxeesa4v11

Darren how do you deal with stage fright .... i’ve been preforming in front of people for a while and i i still get scared . Does it ever go away ?

i guess it depends on how big the crowd is. everybody's different but I will say any kind of fright means you care, which is a good thing! Also the thing people forget about performing, for the most part, is you can't SEE the audience, most of the time they're in the dark. That's why performing for friends or in a small space where you can see everyone is much more nerve-racking

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Darren Criss 18:08:57

Dana

Darren can we have a royalties tour once rona is over???

wouldn't that be fun!

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Darren Criss 18:09:15

emilybutcher30

darren can you start streaming on twitch please haha i love you

ha can't compete with King Urie man

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Darren Criss 18:10:06

jake2000w

Darren, I know it’s all weird right now, but do you have any idea when we might see Nerdy Prudes Must Die?

what a good question. I have no idea but I've been wanting to see that show for almost as long as I've wanted to make Royalties. The boys have been talking about that one for a while now.

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Darren Criss 18:10:16

jesiqseigle56

Can you like respond .

like yeah

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Darren Criss 18:10:27

abbyforsmark

has Darren even said anything on this?

nope nothing

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Darren Criss 18:12:39

u6iczx4gua0att2g4kd2vdzwe

Did you write each of the songs with the performers in mind or did you cast them afterwards?

great question. Except for "Also You," which was written with Jackie Tohn for Jackie Tohn, we had no idea who would sing each song. I did the demos for almost all of them and then we had to pitch actors/artists to see if they'd be interested... which wasn't as hard (luckily) as seeing if they were AVAILABLE... which many weren't given the short time we had to make the show. Hopefully we can get some of those folks on for the next season IF THEY'LL LET US HAVE ONE!

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Darren Criss 18:13:52

delfi

darren royalties is so good i'm fucking proud of you

thanks for watching it, truly. I know the Quibi thing is strange for people so I appreciate you giving it all a chance : )

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Darren Criss 18:14:04

Caitlyn A :)

if you see this kick your shoes off

I would but no shoes

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Darren Criss 18:14:27

t59glm18dkw84n64l72jcuvpc

come to the uk challenge

god i wish.

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Darren Criss 18:15:39

damn someone said "travel to UK challenge" and I meant to respond "find a vaccine challenge"

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Darren Criss 18:17:08

i can't hear any of these songs but I"m just gonna start saying random shit about them

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Darren Criss 18:17:16

first off, i really wanted a theme song

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Darren Criss 18:17:23

that was a whole thing

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Darren Criss 18:19:18

Had to cut through a lot of red tape to make sure we had that silly song in there. We were already in the middle of post production when I finally got it approved, but it had to be under 15 seconds. I wrote 3 diff versions. So glad it ended up working. Theme songs accomplish so much in such a short period of time. Establishes tone. Gives the audience an almost Pavlovian response to the familiarity of the characters... I'm happy with it

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Darren Criss 18:20:12

also the "doo doo doo" lyrics are meant to sound like "scratch vocals" when songwriters record vocals with temporary gibberish lyrics with the intent of filling them in with real ones later

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Darren Criss 18:22:29

Just That Good was a concept that started the entire 1st season, and it was one of those instant-songs where Nick and Matt told me the title and I immediately had the hook just from those words. That only happens every once in a while and I was so happy it did for that song. The tricky part was writing the rest of it, but the back half of the song with the chorus repeating that one refrain over and over- that was the melody from the get go

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Darren Criss 18:23:08

I'll get back to Break it In, kick your shoes/let your hair, and kong later... i'll just go off on this one

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Darren Criss 18:23:48

so I wanted to nod to the grandeur of everyone's favorite vampire elf, Jared Leto

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Darren Criss 18:24:05

not HIM specifically, but 30 seconds to mars' very BIG music videos

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Darren Criss 18:24:29

i dont jared is a buncha self centered nutcases like our guys in SWITCHBACK JACKET

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Darren Criss 18:24:37

* i don't think Jared... 

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Darren Criss 18:25:38

anyway yeah "so much better..." comes from a lot of the 90s alt rock that I grew up on, and the mix of that sound with a bit of electronic production was an effort to contemportize it as much as possible

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Darren Criss 18:26:26

but the rhythm guitar, lots of power chords and high octaves were all harkening to my fave bands like Lit and Eve 6... but put through a strange bizzaro nickleback/creed performance filter

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Darren Criss 18:26:55

"make you come true" is obviously a very salacious play on words

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Darren Criss 18:28:27

so the only way to make it feel earnest is if we made the track itself sexy as possible. A lot of the songs, even without being written, leant themselves to a certain genre just by the title, and this one was kind of a no-brainer. Sexy mid tempo r&b. And I didn't even know we'd get Jordan Fisher to do it- who SMASHED the vocal.

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Darren Criss 18:29:42

lauraacampbell-12

DARREN CHORDS OR LYRICS FIRST WHEN WRITING A SONG?

it's different every time but for this show specifically it's always title/idea first, and then the song comes from there. But that's because we're writing a show, so we have the luxury of getting to write from a specific place. It's much harder to do that in your own life when you just want to pull a title/idea from your own experience of life. I commend people that do that all the time.

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Darren Criss 18:30:06

what's NUTS about prizefighter is...

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Darren Criss 18:30:24

it was originally a song called LONG RANGER that BONNIE MCKEE sang, who I wrote the song with

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Darren Criss 18:30:38

and in the video we had CHRISSY TIEGEN lipsynching

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Darren Criss 18:30:44

it was bananas

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Darren Criss 18:31:26

we ultimately couldn't use the song because of some complicated writers shit- not too dissimilar from the things we explore in our own show, which is just totally ironic.

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Darren Criss 18:32:56

we were so bummed that we couldn't use the song but I'm actually really really happy with PRIZEFIGHTER. I love the song, and I love how it turned out production wise. I love how much of a massive influence latin x rhythms have had across the entire spectrum of mainstream music, so I wanted try my own hand at nodding to it!

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Darren Criss 18:33:08

Lara :)!

Ahhhhh so was that the pilot song you were talking about last week?

that's the one

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Darren Criss 18:33:45

hbz3jctrg5rwwma640hahffvt

You have inspired me to learn piano I already know how to play teanage dream now

you can thank Bonnie Mckee aka Kimmy Kelly for writing that song!

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Darren Criss 18:34:01

ok then there's the k pop song

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Darren Criss 18:34:08

honestly i had no idea where I was gonna start on this one

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Darren Criss 18:34:22

full props to the brilliant CJ Baran who I wrote this song with

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Darren Criss 18:34:39

we were just toying around with very industrial-sounding samples

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Darren Criss 18:35:21

and I started singing Edvard Grieg's "in the hall of the mountain king"

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Darren Criss 18:35:33

and he was the guy that was like YEAH JUST PUT IT IN THERE

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Darren Criss 18:35:46

and i realized, oh yeah, that song is public domain

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Darren Criss 18:35:59

and kinda ties perfectly to the nature of Elia Peck and his songwriting... huh.

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Darren Criss 18:36:05

So we went for it from there.

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Darren Criss 18:36:17

based the lyrics off of what the Neals say in the room.

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Darren Criss 18:36:34

and then just wrote a bunch of ALMOST nonense lyrics about things that you could HATE that you NEED

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Darren Criss 18:36:40

things like available wifi...

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Darren Criss 18:37:01

artistinal mai-tais.... yeah I guess if you really really liked those you could HATE that you NEED them...

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Darren Criss 18:37:04

etc etc

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Darren Criss18:38:16

but the idea was to have Mariam Hale's character hardly do ANYTHING on the track, since she, as the audience sees, doesn't really have much to offer... so we just built it around this huge track with crazy lyrics that just tees up a tag for her to say without even having to sing: I HATE THAT I NEED YOU

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Darren Criss18:38:43

2235n5s2qk5hjsujbhk5ilpva

I have classes in 10 minutes, and I'm not leaving until you dedicate a Royalties song to me.

looks like you're gonna miss calss

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Darren Criss 18:39:09

"calss" ha. which is like "class" but like... different.

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Darren Criss 18:39:32

alrighty PERFECT SONG

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Darren Criss 18:39:38

i really love this song as well

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Darren Criss 18:40:02

the reveal of this song is that they keep talking about this "perfect song" they've written

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Darren Criss 18:40:26

in other words we're teeing up a pretty big expectation of what a perfect song could possibly sound like

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Darren Criss 18:40:36

the reveal of course is that the song itself is in fact just called "perfect song"

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Darren Criss 18:40:43

which is ABOUT a perfect song

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Darren Criss 18:41:07

and about TRYING TO WRITE a perfect song, and how that's not necessary when you have someone that IS the perfect song

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Darren Criss 18:41:20

when we wrapped our heads around that idea, I really loved it 

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Darren Criss 18:42:10

you'll notice we reference a lot of incredible songs, almost citing them as perfect songs themselves

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Darren Criss 18:42:14

ain't no mountain high enough

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Darren Criss 18:42:55

of course leonard cohen's seminal Hallelujah

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Darren Criss 18:44:05

and of course Britney's Oops I Did It Again ha ;)

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Darren Criss 18:45:00

the Oops being a layered joke of being annoyed with oneself that they AGAIN unwittingly wrote a lyric for already massive song, but in doing so citing yet ANOTHER already massive song... if that makes any sense

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Darren Criss 18:45:27

sorry for the typos yall i'm moving fast, i'd never let this shit slide if it wasn't a casual chatroom vibe

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Darren Criss 18:46:37

emzlolly1234

Did you know you wanted there to be a romantic thing between pierce and Sara?? :))))

yes that was actually our original "pilot presentation" episode. the one with the song LONE RANGER and Chrissy Tiegen. It was a longer version of what would become episode 7. We THINK it's a romantic thing but you realize that Sara is just playing Pierce to get the song she needs. That was always the premise yes.

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Darren Criss 18:46:51

luzmargotramos

if you reply with a single dot I'd probably die

then I better steer clear of any dots

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Darren Criss 18:47:04

ALSO YOU was an amazing lightning in a bottle moment

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Darren Criss 18:47:09

FULL CREDIT TO JACKIE TOHN

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Darren Criss 18:47:22

i always enjoy giving credit where credit is due

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Darren Criss 18:48:24

and I came in pretty hot for most of the songs- concepts, chords, style... but this one literally was a simple as Jackie Sitting down and just playing "It's you I love but also you and also you and also you."

—

Darren Criss 18:48:37

we all just looked at each other going, welp, yup, that's it, jackie you fuckin rule

—

Darren Criss 18:49:28

the song would have ended up very differently if she hadn't brought that to the table. the original episode and song was "one true loves" which isn't nearly as good of a gag/title as "also you"

—

Darren Criss 18:49:50

i ended up squeezing "one true loves" into the bridge, but of course, kept ALSO YOU as the main event

—

Darren Criss 18:50:02

i will say I was also trying to spoof my brother's old band, FREELANCE WHALES a little bit

—

Darren Criss 18:50:26

if you guys know the song "generator first floor" where they sing ay ay ay ay ay a lot...

—

Darren Criss 18:50:35

... as a lot of bands and songs had featured at the time...

—

Darren Criss 18:51:00

i wanted to put them all in one joke. where a band sang not only hey hey hey but ay and EE and AYE and OH and basically all the vowels

—

Darren Criss 18:51:10

which was where the joke of,

—

Darren Criss 18:51:20

a, e, i, o, and also u

—

Darren Criss 18:51:21

came from

—

Darren Criss 18:51:32

which i'm particularly proud of

—

Darren Criss 18:51:56

ok let's talk about BREAK IT IN

—

Darren Criss 18:54:16

lxucxthxrxnx_

I’m a musician myself (not that great lol) what was it like coming up with the melodic side did you play any instruments for the songs?

i played instruments on all the songs except Break It In and I Hate That I Need You, since those were all electronic. That's not to say i played EVERY instrument but I definitely played AN instrument of some kind for the others.

—

Darren Criss 18:55:34

as for break it in... anyway... yeah that was a blast. Nick Lang and I collaborated with my buddy Kendo who goes by the artist name KingJet.

—

Darren Criss 18:56:54

Kendo has worked on a lot of legit songs in the hip hop space. For each song I wanted to make sure there was a level of authenticity to what we were doing. I didn't wanna SPOOF the songs. I wanted the songs to sound rock solid and that it would be the LYRICAL CONCEPTS that would be the source of satire. So Kendo was a great guiding light to keep the track as authentic as possible.

—

Darren Criss 18:59:47

We explained to Kendo the whole joke concept of the song, which is basically just turning the idea of toxic masculinity on its head, and he was on top of it immediately- when we told him that there's this guy that's really concerned that people think he "fucks too soft" he immediately started spitting out lyrics like the hilariously defiant "I'm the KING OF THE HARD FUCK"

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Darren Criss 19:00:35

which just killed me and Nick. It was just so juvenile that it was adorable to me

—

Darren Criss 19:00:57

emzlolly1234

Darren you’ve been here for an hour? That’s the length of royalties man xxx

yeah aint it great

Darren Criss 19:02:21

sophie :)

i personally think you should try your hand at writing a drill song, a british genre of rap that centres around rapping unrelated lyrics in front of chicken shops, personally think it has the right tone for the show for a season two

drill would be siq. I mean, opening the incredible pandora's box of UK based hip hop in general is its own magical wormhole of nuance and history and regional culture. it's amazing. i'd really have to do some homework if I wanted to pull that off!

—

Darren Criss 19:02:49

cd2gu4ceqx4am9otf9hzwzivs

he’s talking again guys be worried he might write another essay

ok sorry i'll stop

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Darren Criss 19:02:51

:)

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Darren Criss 19:03:03

cd2gu4ceqx4am9otf9hzwzivs

he’s talking again guys be worried he might write another essay

kidding!

—

Darren Criss 19:03:39

fsheldens

when darren actually cares about us 🥺

awww i always do! I just wasn't built for internet stuff.

—

Darren Criss 19:04:20

alpermehdi

speaking of nick how was it to work with nick??

the best. Nick is one of the best things that has ever happened to me.

—

Darren Criss 19:04:51

chloe :)!

what would be ur karaoke song choice from the show?

mighty as kong

—

Darren Criss 19:07:32

isa.kowo

How much music theory goes into your songwriting? And did you learn all of it from playing the violin? In what way does it go into your songs?

all GREAT questions. I mean, music theory isn't something you CONSCIOUSLY employ when writing something, it's just that it really helps to know the rules or music when shaping it and trying to maximize its production. And as a matter of fact, yeah, I DID learn most of it playing violin. But when I was playing violin I was ingesting music from the perspective of a student ingesting information, not as a proactive creator putting anything of my own out into the world.

—

Darren Criss 19:08:07

Honestly I really didn't start UNDERSTANDING music theory until I started writing music for other people, and noticing certain things and chords and shapes had names and that they could be manipulated to accomplish certain things

—

Darren Criss 19:08:35

so most of my academic musical knowledge came in my 20s when I tried to start doing it professionally

—

Darren Criss 19:08:52

Nick

first instrument you ever learnt?

violin

—

Darren Criss 19:09:07

andyruiz080

I'm castin' my love net wide And fillin' every hole in my schedule

ha love that line

—

Darren Criss 19:09:29

missweggy

Darren are you a big queen fan ( the band lol ) 😂

is the pope catholic

—

Darren Criss 19:12:00

ChloeOmelia

Now its available, would you change anything?

jesus so much. but such is the nature of creating stuff. there's a great Hayao Miyazaki quote about always having to make new stuff to escape the woe of all the mistakes you made in your last thing... I mean, that's a bit extreme, I feel like we did the best we could given the circumstance but I totally get where Miyazaki is coming from. And in many ways that's everything we do in life. Do your best, know what you coulda done better and carry on

—

Darren Criss 19:12:36

dj._.quackers

who or what was your biggest inspiration growing up

the beatles. the uk. the 60s.

—

Darren Criss 19:13:02

Astriddd

Your first original song was "Not Alone". I'm right?

no it was actually a song i wrote in the third grade when I got a guitar for Christmas called "Save The Whales"

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Darren Criss 19:14:29

hiiqsbo9358wvfkcjcsgsu4lb

Darren I need an answer it’s been annoying me for days. So was everyone fucking everyone in Pierces old band or was she just fucking everyone seperately??

ha that's a really great question. I figured she was just fucking everyone individually, which is why the band was so contentious but then again I'd rather let your imagination run wild...

—

Darren Criss 19:15:29

jphxxk5wjnaqnhuv806wmohdt

Darren, I love your taste in music. You should share your personal playlists ... bc everybody needs to know phantom planet 😉

if i actually shared my tastes in music, or actually shared the amount of stuff in my brain at the rate that I want to share, I would never work on or create anything because i would constantly be on the internet and you'd all be over me if you weren't already

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Darren Criss 19:16:01

But yes, thank you for saying that, I love me my phantom planet oh so very much :)

—

Darren Criss 19:16:18

juli.nuttini

could you please answer me I don't speak English and I'm putting ALL my effort into asking you questions I'm going to cry

wow your english is actually pretty great

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Darren Criss 19:17:08

I'd like to write a song with Howard Ashman

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Darren Criss 19:17:23

dancebaby218

Was kick your shoes off inspired by your Hedwig shoes?

nah cuz that shit was actually comfy

—

Darren Criss 19:17:55

12169199549

i skipped my clarinet class because of you for the third time :) what can i say to my teacher?

that Darren says you should have gone to clarinet class!!!

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Darren Criss 19:18:34

qalektvmexab6gfwibfihwu6b

Could you please answer me. We’ve supported you for years from the uk and we’re staying up for this but it’s totally worth it because you’re amazing!! Molly x

I wish so bad I could go to the UK!

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Darren Criss 19:20:01

FUCK someone asked about Sam Farrar and I wanted to answer it but it disappeared... Sam is a homie. one of my very first songwriting sessions was with him and a very famous member of the pop universe... who if I get a season two, I'm putting in the show.

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Darren Criss 19:22:00

9nc1yow3iwnp9p3fs4gcvdnsf

what other instruments would you like to learn in the future?

i just need to spend time trying to get better at the ones I've plateaued with. I feel like I got as good as I'd ever get on the guitar when i was like 19. So I've been trying to get better during the Quarantine. Picked up my violin and dusted off that Vivaldi, started doing drum rudiments on my drum pad, and started learning new licks and scales for guitar. Stuff I never got round to doing.

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Darren Criss 19:22:27

harefraz

mr. criss sir, what is your top quarantine activity?

playing music

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Darren Criss 19:23:26

actually lies. top quarantine activity is learning Japanese. 30 minutes a day. And it's been several months. Almost got Hiragana down, still got a few characters I'm questionable with but with any luck I'll start up on Katakana in the next few weeks.

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Darren Criss 19:23:40

224abi6avvottcsacto7vx46a

What about working with Mark hamill ? Insane right

you said it

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Darren Criss 19:23:54

t7sxis7855cd329gaa6iyty8v

Any updates on American Buffalo? 🥺👉🏼👈🏼

it's opening next year!

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Darren Criss 19:24:09

for the record this is really fun I'm enjoying this guys

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Darren Criss 19:26:26

Rachael

How different is it doing a show like Royalties where you're heavily involved in the creative process compared to other projects you've done in the past?

i'd say night and day but that's an understatement. When I did Glee all I had to do was act in scenes, record songs, and go to dance rehearsal. With Royalties, it's that AND casting, doing pre production, post production, notes, meetings, notes, writing and producing songs, location scouting, blah blah blah lots of the stuff that you don't have to worry about if you're not a creator. But make no mistake I absolutely love it.

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Darren Criss 19:27:41

Aisha

learn spanish

I'll get there. I already speak a bit of Italian so I wanted the challenge of learning something that didn't use a writing system I already understood.

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Darren Criss 19:28:23

rosieellenxx_

I take Music Technology as a subject at school and we have to make a whole song with the sole sample of glass breaking...

sounds fun. loads of things you can do with that.

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Darren Criss 19:28:48

21ynx6niidf2amx5nzilihsga

What are your goals for once quarantine is lifted?

hopefully to feel like I used this very strange time well.

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Darren Criss 19:29:14

Ok I should probabl get outta here right?

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Darren Criss 19:29:41

I've talked a lot about mighty as kong in other places

—

Darren Criss 19:30:00

so I'll just leave you with a story about "Let Your Hair Down"

—

Darren Criss 19:30:14

which was the very FIRST song we wrote for the show

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Darren Criss 19:30:37

I had a meeting with an artist at a dive bar in the middle of the afternoon

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Darren Criss 19:31:10

let's just say I showed up to that very first writer's session very late

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Darren Criss 19:31:17

and sober ENOUGH

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Darren Criss 19:31:41

wktusw4mcjn910r3eq91zg4k5

darren did you watch hamilton??????

duh last night. so fun.

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Darren Criss 19:32:17

anyway I was so relieved that we left with that song at the end of the day. The intent was always to write two songs with the exact same concepts just with different titles

—

Darren Criss 19:32:50

the chords are the same, just slightly different voicings played on slightly different instruments

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Darren Criss 19:33:29

and the idea was that whichever song was funnier, or at least whichever song would be more fun to see in a music video... would be the one that Pierce & Sara write

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Darren Criss 19:34:08

"Kick Your Shoes Off" ended up feeling more like a full music video than "Let Your Hair Down" but I LOVE that first song, and hopefully people get to hear the whole thing on Spotify since you don't get to hear the whole song in the episode

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Darren Criss 19:34:51

with lines I love like "see my cheekbones, show off my clavicle, I bet you've never seen a ponytail to magical..."

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Darren Criss 19:35:39

emilybutcher30

i love that u spelled it sara not sarah

thank you. if you don't already know it, check out Ben Folds' "Zak and Sara"

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Darren Criss 19:36:01

OK i gotta get going

—

Darren Criss 19:36:12

but thanks to everyone from all over the world for joining

—

Darren Criss 19:36:17

i see you and i say hi to you!

—

Darren Criss 19:36:23

happy birthday to all the bday kids!

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Darren Criss 19:36:33

thank you for spending a little bit of your bday with me

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Darren Criss 19:36:39

thanks for checking out Royalties

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Darren Criss 19:36:46

hope you enjoy the music

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Darren Criss 19:36:53

and hope there gets to be a season 2!!!

—

Darren Criss 19:37:08

xo to all of you. stay safe, stay inspired. - Darren

[cogentranting]

Tracing the Fall of Snow

*Warning: Full Spoilers for the book*

The Ballad of Songbirds and Snakes is a story about human nature. Within it characters embracing different philosophies (Collins cites Rousseau, Locke, Hobbes, and the Romantics) are thrown together and their philosophies tested. While characters like Lucy Gray, Sejanus, and Dr. Gaul are fixed in their outlook, Coriolanus is not. This book asks questions about human nature, while also crafting an origin story for the evil tyrant we see in the original Hunger Games trilogy. 

When we meet Coriolanus in this book, he’s not evil. But he’s not good either. He’s closest to being a “blank slate”-- a Locke theory that Collins describes as a “theory in which all we know comes from experience”. Coriolanus at the start of the book is not fully a blank slate, but he’s a mix of his experiences and influences. We’re shown the way he connects with Tigris and the Grandma’am. Generally positive relationships. However, we also see his elitism, his ambition, and his disdain for the districts. In essence, the competing forces can be summed up in two representatives: his parents. His mother was gentle and sweet, and loved music. His father was hard and cold and went to war. 

Coriolanus’s development over the book is complicated but generally negative. He’s disgusted by the cruelty of Dr. Gaul, but excels in her way of thinking. He is saddened and horrified by his classmates’ deaths, but quickly moves past his initial grief reaction to focus on his own interests (e.g. writing the proposal for class, or criticizing the portrayal of Arachne at her funeral). It could even be claimed that his initial reaction was not grief at all, merely a reaction to the violence and chaos. Which, as an interpretation, leads us to the central question of his development: his relationship with Lucy Gray. 

Coriolanus’s two “closest” connections-- Sejanus and Lucy Gray-- are two characters who are cast in positive light, though to different degrees. Sejanus we are meant to view as good and noble. Coriolanus is perceived as being very close to Sejanus, going from friends, to best friends to “like brothers”. But Coriolanus’s inner monologue, as expressed through the narration, makes it clear that this is all a show. All of the actions that Coriolanus takes which are perceived as demonstrations of support and friendship are really done with his own good in mind: he hands out sandwiches with Sejanus so that his own tribute will get food; he goes into the arena because he is forced to; he goes to check on Sejanus’s injury in the hopes that the Plinths will reward him. The narration never indicates any sort of affection from Coriolanus. The most positive reaction he ever has to Sejanus is when he first joins him in District 12, but even then Coriolanus’s excitement is for the news and ideas that Sejanus brings. Sejanus himself is really only appreciated for being “someone to talk to who knew his world and, more importantly, his true worth in that world” (344). Coriolanus appreciates having someone who can appreciate him; he does not value Sejanus himself. 

The same distinctions can be drawn within the more central relationship between Lucy Gray and Coriolanus.However, Lucy Gray is-- as her name suggests-- a more gray character than Sejanus, and the connections between her and Coriolanus are proportionately more complicated. While Sejanus’s motives and actions are generally clear, Lucy Gray is at times ambiguous. She is generally kind, cares for her family, values freedom and beauty. She does not condone or value killing like some characters, but unlike Sejanus she does kill in self defense, and unlike him, she has no noble cause she fights for. There are also points of distinct ambiguity-- what were her intentions with the snake at the reaping? Do Billy Taupe’s comments about her suggest a complicated past? And most significant, did/would she turn on Coriolanus at the end? 

Coriolanus believes that he loves Lucy Gray. However, much like with Sejanus, the narration does relatively little to suggest that this is the case. When the narration shows his thoughts, it rarely, if ever, reveals thoughts about him liking her. Most of the time their relationship is discussed in terms of him wanting her to want him. Rather than actual affection we see possessiveness. His strongest emotions come when she sings about or speaks to Billy Taupe. This aggravates Coriolanus because his possession of her feels threatened. During the interviews before the games his mindset is expressed in this way: “Hi girl. His. Here in the Capitol, it was a given that Lucy Gray belonged to him, as if she’d had no life before her name was called out at the reaping”(172). When that idea is challenged by a song about another boy-- note: not even current lover, an ex-- Coriolanus feels “betrayed” and “humiliated” as if Lucy Gray has wronged him by existing separate from him. When she does eventually sing a song directed at him, Coriolanus’s first instinct is not to respond directly to her, but to make sure his ownership of her is noted, thinking that “it was nice, after all, to have someone else who knew the significance of the song” and wanting “to tell people around him. I’m her true love. And I saved her life” (367).  Throughout the relationship, Coriolanus is paranoid about having Lucy Gray stolen away by Billy Taupe. Even after his rivals death when he and Lucy Gray are planning on running away together “he would have preferred not to meet up at her old lover’s rendezvous spot” (486). Jealousy is still the primary emotion defining their relationship. 

In the same way that selfish acts were perceived as being for Sejanus, many of Coriolanus’s actions are interpreted as being for Lucy Gray when they are not. The basis of their relationship is that he helped her survive the games. She sees this as him saving her life and risking everything for her. He even begins to take this view of his own actions himself, seeing it as a grand act of love where he “risked everything to save her in the Games… risked it all again to save her from Mayfair”(480). But his motivations during the actual games were clear; he was trying to win in order to secure his own future. Again in the murder of Mayfair,  where his first thought was “with her would go his entire future” (460). In both instances, Lucy Gray’s wellbeing was secondary, if a consideration at all. The truth of his feelings come out when he for the first time is asked to actually give up something solely for her. When the climax of the book comes and he has the choice of giving up the life he’s dreamed of to run away with Lucy Gray, or to go train in District 2, it’s revealed that his love-- the one noble thing he could potentially be credited with at this point-- isn’t real. It’s not even just that the love isn’t strong enough. He doesn’t just choose his ambition over love. If he had he would have just left her. Instead, he instantly turns on her and tries to kill her, suddenly projecting his own deviousness onto her as he convinces himself she would destroy him if he left her alive. 

The falseness of Coriolanus’s positive instincts are seen elsewhere as well, even at the start of the novel. He claims that he has a strong moral compass, and Tigris calls him a good person, but this view of Coriolanus is never demonstrated. Similarly, Ma Plinth believes Coriolanus to be compassionate and generous, though the reader knows the truth of his motivations toward Sejanus and the Plinth family.  Most people in Coriolanus’s life see him as a better person than he really is. Part of this is because, even before his real descent into evil begins, he’s highly manipulative. This is most clearly demonstrated through his hyperfixation with appearances. The attempts to dress as if his family is still wealthy, and control how he acts around food are harmless enough. The real origin of his downward spiral is in how he manipulates emotions. Particularly in his Academy interactions, Coriolanus’s reactions are more often expressed in terms of what attitude or emotion he’s trying to convey, than what he’s actually feeling. The most glaring early example of this in action comes with Arachne’s death; when she is attacked he goes forward to help her, not because he has anything to offer or because he it is his impulse to help, but because “he did not want to be seen cringing and clinging” (180).  Even before he begins to do wrong things, Coriolanus seems to lack a nature that pushes him to do right things. 

Still, early in the book Coriolanus does have things that could be considered good. He has a fondness for his mother. He is reviled by the violence and by Dr. Gaul. He is loved by and to some degree cares for people like Tigris and Lucy Gray. So despite his potentially sociopathic traits, he is a dynamic character who goes from being a neutral force to an evil one. This descent is demonstrated through the deaths he causes. 

Coriolanus’s descent is demonstrated through seven deaths. The first is Arachne. This death is not Coriolanus’s fault, he does not wish for it, and he actively tries to prevent it, despite his motives being less than heroic. This is the baseline for Coriolanus’s moral character. The second death does not actually occur-- Clemensia. Here Coriolanus is present for the attack (which could have killed her) and makes a minor attempt to intervene, but after he becomes more aware of the situation he does nothing; he does not visit her in the hospital, he does not tell her parents, and he does not reveal the truth of her attack. For this instance, he is passive and does nothing to prevent a potential murder out of fear. The third death is Bobbin. Coriolanus kills Bobbin out of self defense, though the force used is excessive and the death itself could perhaps have been prevented without endangering his own life. Still, it’s something he was forced into to defend his own life. The fourth death is Sejanus. This death is a betrayal. Coriolanus does it to protect himself but in a more calculated, self-serving sense. However, though the betrayal was intentional, the death was not, and Coriolanus seems to have genuinely not intended for Sejanus to die. The fifth death is Mayfair.This one is murder. Coriolanus justifies this murder by calling it self defense, but it is his “future” that he worries for in the moment that he kills her, not his life. There is no panic or instinct this time-- it’s cold blooded, killing an enemy to protect his ambitions. The sixth death is Lucy Gray, though we’re left unsure whether or not she actually died. This one is premeditated, and the worst sort of betrayal. He claims to love Lucy Gray and yet tries to kill her to secure his own ambition. The seventh death is Dean Highbottom. Self-preservation was present in all the previous ones. This one is simply cold blooded for the sake of petty revenge, and perhaps ambition. 

However, Coriolanus’s murder of Lucy Gray (or attempted murder)  is the climax of his progression. The scene where he chases her is his final choice of which influences he will cave to. He chooses the Capitol and its control over freedom. He chooses himself over Lucy Gray. He chooses evil over good. And this is symbolized through the emblems of his father and mother. During the entire journey out of 12 and the chase, he is carrying his mother’s compact powder, pictures of his family and his father’s compass. His mother’s powder has been throughout the book a symbol of love and comfort. During the chase, this powder and the pictures are destroyed. These were items he treasured throughout the novel but here he “threw the whole thing in the trash” (506) with no mention of any emotion over this loss. His choices in the woods have destroyed his connection with the gentle loving mother. All that is left, is his father’s compass. From now one, he is steered by the influence of the cruel manipulative father* who first conceived the Hunger Games.  

The Epilogue demonstrates the fullness of this change, first through the casual murder of Dean Highbottom with the method that will become Snow’s signature. Second through the use of names. Through the entirety of the book, the narration refers to Coriolanus by his first name, separating him from the evil figure in the original trilogy. The Epilogue switches to referring to him exclusively as “Snow”, further embracing the legacy of his father, and clearly demonstrating that he has become the man we saw in the original trilogy. Coriolanus is dead and President Snow has been born.

*EDIT: His father who is responsible for the initial inception and instigation of the Hunger Games.