#because...hypothetically...i potentially may not know where the plot was going

[track-five]

i've accumulated over fifty half-written fics in the past four years (i'm sure most of them will end up smashed together) so i desperately need help figuring out what to focus on right now. here are little pieces from a few (decently established) drafts that i could get out within a few days while i work on longer stuff

1.

“Could I ask you a question?”

“Always,” Harry grinned, sliding into bed and gently tugging the older boy to sit between his legs.

“I...jus’ love you s’much.”

“…is that your question?”

“Mm, yeah.”

“You really got a fever, don’t you?”

2. [larry's house: loml]

“I thought you were a murderer! Never sneak in like that again, damn near gave me a heart attack.”

“Maybe I am a murderer."

“No, you’re the love of my life.”

“Doesn’t mean I can’t murder you...”

3. [very very very sappy pining love letters]

I guess I’m just lonely tonight. Maybe I wish I had you here to hold me like I held you. Maybe I just need a good cry. Maybe I just need you.

Can you come home yet?

I miss you.

I love you.

- Louis

4. [unfortunately this has no redeeming qualities! all hurt, no comfort]

“I jus’ wanna do up his necklace one more time.” Louis’ throat tightened as tears pricked the corners of his eyes. “I wanna stroke his curls and hold his hand and make him laugh one more time. I-I…I jus’ want one more minute.”

5. [baby boyfriends]

“When’s the last time you had a glass of water?”

“Huh? Oh, I dunno. Yesterday?”

“Harry, you’re jokin’ right?”

“I, uh, I don’t think so.”

Louis kept up his incredulous stare while running a hand through his fringe. He sighed, breaking their eye contact when he turned his gaze to the ceiling as if some kind of answer to his every problem would fall from the heavens.

“Christ, your mother’s gonna kill me."

[thatseitagremlin]

gremlyn's danganronpa: despair time x digimon au

born to draw / world is a fuck / blender em all / i am au man / 410,757,864,530 unfinished wips /ref

everyone in the image is in elementary school age. this started because i wanted to draw kid charles in a stupidly oversized lab coat and stupidly oversized square glasses and it spiraled into this (though the au itself has been in the works for far longer)

as usual, yapping about the au under cut! but there is a LOT of text down there holy Shit. allusions to Certain DRDT Character Development Spoilers; knowledge about digimon isn't necessary but will be helpful! :)

the au's bones / plot summary

ultimate titles and hope's peak academy do not exist in this universe. the tragedy never happened. everyone still has their respective talents, which helps some characters (e.g. min is a normal student living an average life) and hurts others

mai akasaki is this universe's first ever chosen child / digidestined. she encounters her partner digimon, makes all kinds of friends (everyone else in the pic except teruko) who she loves dearly (even if all of them drive her up the wall in their own unique ways), and eventually (high school age), all of them get isekai'd to the digital world!! they get to go on a fun adventure and improve as people and be closer friends!!!!!

until the part where mai dies an untimely, Brutal death during the final battle. which was Not Supposed To Happen. Whoops!

her death and the circumstances surrounding it cause her friend group to fracture, and most of them do not cope well at all.

i'll probably make a separate post for this, but tl;dr after the final battle; hu and ace initially stay in the digital world to clean up the final battle's aftermath, with differing outlooks on life -> charles has a breakdown + remembers his buried childhood memories, preventing him to function for a good while -> whit tries to take care of him just as he once did but his shitty coping mechanisms and refusal to acknowledge anything make the overall group disorder even worse -> david secludes himself in the digital world after a week of no contact -> xander tries looking for him and david avoids him. worst situationship in existence -> j and arei run away from their respective families and stay together. funniest situationship in existence -> arei realizes how fucked everyone is and is determined to honor mai's memory by keeping tabs on everyone and making sure her stupid friends will be alright

a few years after (depending on how old everyone actually is in canon— college age?), when things have somewhat settled and half of them (arei, j, ace, charles) have moved on, working for their futures, a message from mai's partner digimon is sent to everyone. it's something along the lines of "Bring* Teruko Tawaki to the Digital World and we'll revive** Mai"

*teruko would probably die in exchange

**they don't know and can't know in what form would mai Hypothetically come back in

teruko is just trying to survive with her scraggly cat who she definitely does not project onto. now she has to fend off a bunch of weirdoes with their own funny animals that are trying to?? kidnap her???????? her bad luck kicks in and an innocent stranger (eden) gets dragged into this mess too so she's morally obligated to let said innocent stranger get away as far as possible. (un?)fortunately, eden wants everyone to be happy, so she isn't leaving until teruko's safety is also guaranteed

teruko and eden get front seats to mai's friends having too many internal conflicts and moral crises about potentially sacrificing an uninvolved stranger's life to bring their friend back

i have no idea how this ends. i just want to do some Character Building (bullying my blorbos)

digimon & crest assignments (major characters)

people who at least know of digimon adventure will now notice that all of the digimon here are the baby forms of partners relevant in digimon adventure continuity. it is very much intentional! ^w^

in this universe, digimon partners are "reflections of their human partner's souls", and can be roughly categorized into three groups: those who resemble their human, those who resemble their human's ideal self, and those who are direct manifestations of their human's problems

it is indeed possible for one to project onto their digimon

everyone meets their digimon partners during childhood. since the digimon hatch and grow up in the "real world", they take a while to evolve, and seem to change along with their humans

also this is where i put the disclaimer. i use jp terms and names 95% of the time soryr if you grew up with the dub :pensive:

hu: puroromon -> morphomon, crest of love. happy little butterfly :> butterflies represent change and rebirth, but hu's partner can't evolve like everyone else's partners even after their adventure? even after all these years, morphomon is still stuck in her child stage? how strange...

(morphomon evolves to hudiemon in arc 2 after hu finally accepts that things have changed irreversibly and she has to move on from the past, too)

ace: tokomon -> patamon, crest of courage. the direct manifestation of ace's fears, fate has seen it fit to give him exposure therapy by making patamon a snappy little dog that evolves to a horse (unimon).

(patamon -> unimon -> manticoremon -> kentaurosmon? i can't decide the final stage quite yet, but since his character substansially grows in arc 1, he unlocks said final stage before the end of arc 1)

david: tsunomon -> gabumon, crest of hope. i had to give xanvid agumon and gabumon because... You Know. whatever they're having good luck with that shit! gabumon's thing about being a reptile that wears a beast's fur coat to seem tougher is a. masking thing. i think. gabumon also could behave like how david was as a child

(gabumon -> garurumon -> weregarurumon -> cresgarurumon. yellow. cresgarurumon is unlocked during the final battle but can't be accessed again until after david and xander finally have a successful mutually civil conversation)

xander: koromon -> agumon, crest of light. protagonist energy. agumon is like a second xander and they constantly enable each other

(agumon -> greymon -> metalgreymon -> blitzgreymon. red. blitzgreymon is unlocked during the final battle but can't be accessed again until after david and xander finally have a successful mutually civil conversation)

good place to mention that i could swap david and xander's crests (david light / xander hope) and it'd still work. i personally interpret light as living and valuing life, even with the destinies and purposes one is burdened with, and that's why i gave it to the man with the definition of survivor's guilt hidden in his bio. also haha david "dubious protag" chiem and the funny h word. i would need to blender these two longer to pin down their crests once and for all but i'm leaning towards david hope / xander light for now

j: mochimon -> tentomon, crest of integrity / reliability. the juxtaposition of cute, squishy mochimon vs a ladybug that emits ELECTRICITY that evolves to even COOLER and SCARIER bugs!? tentomon is also more sympathetic than j to contrast them being the most judgmental person in this cast

(tentomon -> kabuterimon -> atlurkabuterimon blue -> rhinokabuterimon. unlocked before the end of arc 1 when j starts being more understanding of others without renouncing their own moral compass)

arei: pyocomon -> piyomon, crest of friendship. piyomon used to be the snappier, harsher one to protect arei from her sisters, but as they grew up, it's almost like their personalities reversed somehow...?

(piyomon -> cockatrimon -> delumon -> griffomon. the only stage that can fly is griffomon. unlocked before the end of arc 1 after arei's ch2e13 speech)

charles: tanemon -> palmon, crest of knowledge. plant baby that i jokingly call "charles jr" in my notes, just because the thought of palmon being charles' lab assistant and wearing goggles + labcoat was really cute...

(palmon -> sunflowmon -> toropiamon -> hydramon. poisonous guys. probably unlocked before the end of arc 1? i'm still figuring out how charles' arc would work if he grew up with whit, because on one hand a friend would help him, but on the other said friend is Whit Young and all the backstory involved with him)

whit: pukamon -> gomamon, crest of sincerity / purity. gomamon is more responsible than her partner though she's still pretty chill. i want to make her behave like whit's (idealization and idolization of his) mom, but it's probably gonna take like 5 years until he says anything more about her

(gomamon -> rukamon -> piccolomon? -> marinangemon. piccolomon was the best link i could figure out between a dolphin and a holy-adjacent sea angel. also this man is NOT getting marinangemon until late arc 2 at least. he needs the entire party to talk sense to him)

mai: nyaromon -> tailmon, crest of miracles. for Plot Reasons tailmon is silly!monotv. goofy and self-deprecating and makes shitty jokes. disappeared after mai's death and returns after a timeskip to implore mai's friends to bring it teruko tawaki

(tailmon -> kabukimon -> ofanimon. it's a lucky coincidence that kabukimon happens to be a tailmon armor evo. final stage unlocked during the final battle)

teruko: nyaromon. it looks like one at least. it's totally a nyaromon guys it's just like mai haha -> meicoomon, crest of fate. a scared kitty :( the manifestation of what remains of teruko's wish to have friends and trust others. meicoomon also appears to drive other digimon berserk just by being near them for long periods of time; a variation of teruko's bad luck, and the reason why these two are basically bound to each other. since teruko's bad luck hurts other people and meicoomon's "bad luck" hurts other digimon

(meicoomon -> meicrackmon vicious mode -> raguelmon. you know. probably a late evolver?)

eden: petitmeramon -> solarmon, crest of kindness. she isn't here but she's the most important character who i didn't draw. Sorry Eden. but solarmon is also like a second eden and they constantly enable each other

(solarmon -> clockmon. it's not that eden isn't getting development, it's just that i need clockmon to be plot relevant and i don't know what the two stages after could possibly be.)

digimon assignments (minor characters)

everyone in this part is irrelevant to the larger plot but i didn't wanna completely leave them out, esp since thinking of their hopes peak-less backstories could be really fun!!

however i have No Idea about what digimon most of these evolve to aside from like. canon stuff

min: minomon -> wormmon. bookworms :>

rose: budmon -> lalamon. silly plant thing :> they're -_- and :o buddies. evolves to togemon

nico: bowmon -> loogamon. as a nod to survive, i think loogamon is the one partner who can't talk in human language, but is very expressive? and nico quickly learns how their partner communicates and how to communicate with their partner

veronika: pagumon -> porcupamon. i had to give her the Spooky Bear Digimon there was no other way around it.

levi: tsumemon -> bemmon. ourple. generally the "unnatural" / unknown digimon tend to be purple, i just picked bemmon since it's probably getting a new evoline in liberators soon

arturo: puyoyomon -> jellymon. i had Absolutely Zero Idea for this guy and settled on Ghost Game's bastard of a jellymon because i want them to beef with each other

backstories and situations

mai is a perfectly normal girl with a loving family and many friends. her partner digimon isn't a "partner" in the same way everyone else's digimon are, but rather an individual (hence the monotv-like personality) who "chose" mai to be the hero of a predetermined story. a story that would end in its heroes becoming better people, having hope for the future

not all heroes succeed, though

charles and whit are childhood friends! yippee! they've been friends and stayed friends throughout most of their lives :) elliot and whit's mom still die, and charles still forgets about the former and possibly the latter :) i wonder where whit got those coping mechanisms from aha :D

i don't have concrete ideas for anyone else's backstory yet Sorry

the digimon partners could pass off as plushies in their baby forms but most of the cast probably had to spill the beans when they evolved to their child-sized forms forms

ryan keeps tempting j to unleash tentomon everytime paparazzi annoy them, to which the only thing stopping j from doing so is tentomon himself. elliot bullies palmon in the same way he bullies charles (affectionately). elizabeth treats gomamon like an actual dog and their neighbors think the young household has a dog who loves swimming a lot. patamon and agumon are popular with their partners' younger siblings. piyomon actually has successfully attacked arei's sisters

i think it'd be really funny if eden is popular enough in town to inexplicably at least know about the non-relevant characters + their digimon, no matter how unlikely. maybe classmates with min and rose, met nico in a cat cafe and stayed in contact, levi works nearby, saw arturo and jellymon argue in public

i'm not a shipper by any means, so i can't and won't write explicitly romantic relationships. but if it helps, my initial thoughts for relationships were queerplatonic charwhit, jarei situationship where neither of them know or care wtf they're doing, xanvid broken pedestals and breaking up in every way possible, and hu + ace... whatever you call "most divorced pair of people despite 1) never marrying and 2) one of them being a gay man". feel free to do your own spin on things though!

also little fun tidbit: the digimon's base colors (except teruko's nyaromon) are colorpicked from digimon world championship sprites just as a fun little challenge, and the color-coded lineart is meant to showcase that they're digital lifeforms physically existing in the real world

[utilitycaster]

oh PLEASE tell us your thoughts about the Daggerheart speculations

So with the caveat that this is somewhat secondhand because I do not deign to go to the CR Reddit, from what I understand and from what I've seen reposted/expounded upon elsewhere, there's been a theory that the Campaign 3 plot is building to the destruction of the gods and a radical change in the magic system so as to support a switch to Daggerheart. Now: while I have my thoughts on where things are going narratively, this is mostly irrelevant, actually, because the logic behind this theory is so fucking stupid.

Critical Role does not, in fact, pay royalties or owe anything to WoTC (and in fact get money from WoTC for the Explorer's Guide to Wildemount; Call of the Netherdeep; and D&D Beyond ads). The reason the gods are referred to so often by epithets (eg: Wildmother rather than Melora) is explicitly to skirt WoTC IP in non-WoTC materials (such as in The Nine Eyes of Lucien or the Tal'Dorei settings). They do not have to kill off the gods to split off from WoTC and it would not be the gods that would be an issue had (for example) the OGL gone through as originally planned. The concept of "this is a fantasy world with gods" is, obviously, not a copyrightable thing. So this has nothing to do with avoiding WoTC fees. Any choice to move to a different system would be motivated by the cast's personal preferences (and, frankly, a desire to make their own money off Daggerheart).

There are reasons to stay in Exandria but it isn't necessary. I think switching systems or worlds will both come with a potential loss of an audience, but also the potential gain of a new one. You could just be like "we're doing Daggerheart in a whole new setting"; d20 and TAZ do this and there's no reason Critical Role couldn't.

It's entirely possible to switch systems within Exandria without killing off the gods; you're simply telling a different story. A Familiar Problem and the first two Honey Heist one-shots are, hilariously, essentially consistent with main campaign canon; they're just about a bunch of wacky animals from the perspective of said animals. What's more, not only have magic systems been indicated to have changed for various other reasons (including the gods introducing them, or just through research by wizards); in real life, the cast switched from Pathfinder 1e to D&D 5e in preparation for the stream, with no in-world reason given. They could just. switch.

Here's where I will admit I may be missing something based on my Reddit ignorance: from what I understand the reason this theory has recently collapsed is because Daggerheart is a 2d12 system, and for reasons I truly do not know, the proponents of this idea believed that for it to work, Daggerheart did still need to be a d20 system. Again: I have no fucking clue why this is; if it's a radically different magical system and a fundamentally altered world I don't see why the dice you use to tell the story can't be different (also the rolls you get with 2d12 are not in fact radically different from the spread of a d20 in the first place, so. bad at math as well as logic.)

Anyway: I think it's entirely possible that CR will, if they have a future long-form campaign (not a guarantee in and of itself), switch to Daggerheart. But if so: no guarantee or inherent need for it to be in Exandria, no guarantee or inherent need to change the fundamental cosmology of Exandria to support a system switch, and absolutely no reason that to support this hypothetical upon a hypothetical upon a hypothetical you would specifically need a d20 ttrpg system.

Anyway. I dislike wild speculation when it's portrayed as theory but if people are like "total bonkers guess based on nothing in particular" at least they're showing some self-awareness, even though I'm not personally interested in that kind of speculation. But a lot of "theories" are structured as an argument while relying on assumptions constructed from thin air (if that) and I think it's valuable to point that out; unfortunately people get really mad when you do because you are, kind of, calling them stupid. Which they are, but people don't like to be told that.

[ell-arts]

Oh yeah i don't think i ever asked this back then, did i?

Well, quick question, you noticed those two times where there are two scenes with Skeebo and Sherry walking for a few seconds everytime before the scenes get interrupted with other stuff?

Well hear me out, i know that sounds crazy, but what if... Skeebo actually found someone to be with him? No i don't think it's necessarily that they're in love, I'm just thinking maybe in the first season it felt like it was just a gag thrown there but seeing it twice makes me think they intended for these two to develop their friendships off screen, but for some reason in season two they're not seen next to one another anymore and i think the whole concept got scrapped... Ngl i feel like it had some sort of potential where maybe, just maybe, Skeebo was going to have a redemption arc?

I dunno I'm probably thinking too deep into it. :,)

But what do you think? Did you notice that too?

Oh, absolutely noticed!

I think they did intend for it to be just a gag/coincidental for the sake of needing background characters for the scenes. I also understand the reason why they may have removed the intention in season 2, because leading up to the events of "Peace Without Slime," it wouldn't make sense for Sherry to be on good terms with Skeebo if she was going to help Cyli actively campaign against him in the elections for student body president.

BUT.

I do really like the idea of Skeebo and Sherry starting some sort of friendship, which could've ultimately led to a redemption arc of sorts for Skeebo.

Sherry is such a sweet girl, so I wouldn't want her to get involved with Skeebo if he's only going to cause trouble for her. But I can definitely see her having a positive influence on him, exactly because of her patient and sweet demeanour.

It would've tweaked some bits of the plot for sure, if Skeebo was given a redemption arc, so we may have seen some parts of season 2 play out differently. But yeah, hypothetically and from a fanon perspective, I think it would've been cool to see these two starting a friendship.

Heck, I wouldn't even mind if Skeebo's change of heart would be because of him starting to catch feelings for Sherry...

I could only track down one of the scenes from an episode (in "Mission impeccable") but cannot remember which episode the 2nd scene happened in, so this is all I got xD It happened very briefly and off-camera too, that's why the screenshot is kinda narrow.

[joshuaalbert]

paramount needs to hire you fr i am Invested in this hypothetical changeling child

tyyyyyy he’s so fun to me and like. I feel like the idea kinda remedies some of the issues in the existing storyline (in addition to the whole biological family thing since he’s adopted and any kind of bond he has with picard relies on a desire to connect with him regardless of whether they share dna).

also this got very long bc i used this as an excuse to start reworking a bunch of plot elements so im gonna put it under a read more hold on

like ok we’re told canon!jack feels isolated but a complaint a lot of people had was that that’s never shown. changeling!jack has the easy shorthand of "if you've spent literally your entire conscious life on the run from starfleet because you may or may not have accidentally committed a crime and they're trying to track you down for it, yeah, you'd be pretty isolated (especially if you and your adopted mom then went on to commit more crime in the name of providing medical care)". i recognize that the line about canon!jack going to school in london was just their cheeky little throwaway to explain the accent and they didn't really care about the implications, but it does imply that he could actually be in the same place for a while so they weren't fully constantly on the run. obviously you can still feel isolated in this situation, but if you're trying to establish that element in a limited time, i think the more you can do to justify the idea the better, and i think them never being able to stay anywhere does amplify it

and like. the isolation can still be a plot point even if we don't bring the borg shit in! there's a readymade counterpart that just didn't come into play in picard! the rogue changelings aren't part of the great link, but i don't think that means they couldn't just set up their own version of it. and we can give jack some conflict in terms of like. he knows their plan is bad and will hurt a lot of people so maybe through the power of (unlike odo bc we don't want it to just be the exact same plotline) actually having a loving—if solitary—childhood he could mostly resist the temptation to be part of them and belong, even if there is some temptation, BUT like. he was raised by beverly crusher who believes in helping people even when it's against the rules and who sometimes has a vaguely insane brand of confidence in that regard, as well as having his own interest in healing, so maybe he thinks if he links with them, he can fix them. picard's ideals and restraint then come into play to try to pull him back from this link that threatens to sublimate him and use some knowledge he has to implement the changelings' plan.

crucially i dont want it to be like a "picard's ideology is right beverly's is wrong it's stupid to try to help people" moment bc that shit sucks but also being blindly confident even for a good cause isn't always the best either so maybe it's like. a partial victory. maybe jack creates a schism in the new link and can't save vadic without sacrificing himself (and even then he might not be successful) but does save some others and is able to impart the potential for human/federation kindness onto them. the values of both produce an outcome where he can do some good but is also able to save himself. idk i dont have the details down but some kind of in between.

in terms of personality you could go in a totally different direction from the wannabe han solo deal, or if you really wanted to keep it, i think it could be more transparently an act—kind of like both his appearance and his personality are mimicked, but there are cracks where something else comes through (genuine enthusiasm for his work! love for his mother and complicated feelings towards the brother he's never met! insecurity!). we could give him a fun little identity crisis after his exposure to other changelings where he feels like he's less of a real person and maybe vadic specifically is like "you're stuck in this human body you imitated to try to be accepted, your personality is all an act, if you join us you could actually be yourself without having to hide" etc to try to get him in on the new link. and then the "pulling him back" moment relies on like. actual observations picard has made about those aspects of his personality when the facade slips and actual bonding moments they've had. he's very much a real person with a real personality despite how he feels, and he is known by someone who made an effort to get to know him.

also just some various thoughts:

another complaint people had was that it was kinda weird that beverly cut off absolutely everyone, but I think it makes more sense if she’s harboring a fugitive. maybe she does even try to keep in touch with her former crewmates at first because she doesn’t think they’d turn on her but it gets harder and harder to communicate with them without it being noticed by starfleet, and maybe they almost get caught once when that happens, so she has to cut everyone off.

I also think it would be fun if he learned about the previous crew from old videos of them and just like. borrowed their personalities a little when he talks to them but that's less of a thematic thing and more just that i think it would be entertaining.

[simon-x-billy]

Simon x Billy

Year of the OTP: May

May Ch. 5: You look good. What happened?

May Prompt: Who Are You?

AN: I thought I’d already posted the May chapter?! Whoopsie. 🙊 Italy photos mine. Btw in case it was established too far back in the story for anybody but me to remember, the phrase ‘eye caterpillars’ = bushy eyebrows. 🐛 TW: Outdated references to hipsters. Use of bips. Irishisms. 2015. Picky eater. Fic rewrites. Utter lack of sex.

————/-/————

Masterlist || ao3 || Start: Jan || Prev: April || Next: June

————/-/————

May Chapter 5: You look good. What happened?

————/Billy/————

"You came!” I’ll admit I’m amazed to see Simon Lewis emerge from the depths of the Naples train station blinking at the full force of the Mediterranean sun. It was only just last night he decided to come back and here he appears before me less than 24 hours later. I pull the muppet in for some back-thumping. “What’d you do, y’madman? Drive straight to the airport?”

“Yeah, basically.” He’s grinning, and I can hear the giggle barely contained by his words. “Walked up and bought a ticket right there at the counter, just like in a movie. I am both a baller and a shot caller.”

Billy and the baller/shot-caller.

I can’t help but chortle. “Obviously.” Certo.

“It was iconic. Sexy. I am a sexy icon of bad-assery with balls and shots called. On two continents.” He holds up two fingers, unconsciously forming a symbol that could potentially be misconstrued in Italy. It definitely would be misconstrued back home. But no one’s paying us any mind.

“Look at your man now. Aren’t you just the sexiest Simon ever to have a bad ass.”

“I know, right?” He presents his fist. In a news announcer’s voice he announces, “We fist bump because we’re men, the moment calls for it, and the enthusiasm is infectious.”

“Em, Simon. I think you’re thinking out loud again.”

“Whatever. Don’t care. Too psyched to be here to berate myself for cringey habits.”

This fun Simon is a little different to the one I’ve been texting. He’s a bit more loquacious, this one. Less Hemingway and more, em, I dunno, Simon Lewis I suppose.

“And no more crying chibi Simon,” he declares, as if he needs to be very clear on this point. “I drowned him in the East River – purely figuratively, of course, but it does count. So he’s not along for the ride this time. He cannot steal my bad-ass thunder.”

I can’t help snorting, but before I can give him proper grief for his ass thunder, he stops me with his hand up. “No, no. Don’t bother. It’s true. I didn’t think that one through.”

Tossing his bags in the boot, I feel honor-bound to point out, “I never had you down as a murderer. Plot thickens.”

————/Simon/————

“So where to, mate?” Billy changes the subject to our more immediate, practical concerns.

“I don’t really care, as long as it’s not the hotel. I want to do something. Any thing will do, as long as we have to actively go do it.”

“Right,” he says.

“So where to, mate?” I ask in return.

“Sorrento. Nah-bip-bip-bip I’m not finished. The actual town of Sorrento — or at least the marina. That’s where dinner’ll be.”

“Aren’t you working?” I whip out my ol’ faithful suspicious-side-eye expression. Yeah it’s a predictable choice, but I’m suspicious, so I’m looking at him from the corner of my eye with suspicion. It’s how it’s done, how else am I supposed to do it?

“Nah, man. I took the night off. And anyway, pickin you up is a job all its own, innit,” he teases. He’s teasing.

“That’s all I am to you, a job, isn’t it.” I sniff back my hypothetical tears. “No, but seriously, thanks Billy. For the ride. And for taking the night off. Appreciate you, man.”

“Well, I figured you’re not likely to have a girl already. So it was safe to assume you’d be free for dinner. And I wanted to get you down to town. You can’t be eatin every meal at the hotel.”

“Don’t want to, anyway. I’m here to do it right this time,” I promise him.

Heaving a sigh of relief he says, “Thank Christ,” in the general skyward direction of God on high.

“Thanks, Billy.”

“Acourse, mate.”

“No really. Thanks, Billy.”

“For what?”

“For everything.”

————/-/————

“Oh look, he’s back. Where’d you go?” Billy asks me with amusement. He’s amused.

Eloquently, I inquire, “Huh?”

“You disappeared. You do that a lot, mate.”

“Don’t you need an amulet for that?”

“Funny.” Apparently it’s not.

“Y’know, if I could have worked hit points into the books, I totally would have. It just wasn’t the right tone.” I put on a dreamy voice. “Not all dreams come true, Lewis, not all.”

“What are you on about?”

“Books. I write,” I qualify, just to clear up any confusion.

He turns to look at me (taking far too long without his eyes on the road in my opinion). What, is he trying to decide if I look authorly? “That's great, man,” he says. “Where’d you post them?”

“Post them?” Um. “Oh, you mean putting the chapters up online?”

Billy nods. I’m forced to assume I don’t look authorly.

“What kind of stories do you write?” he asks as he skirts a delivery truck driving in reverse down the middle of the road. I decide that it’s best to pretend it’s not actually happening and stare at the view instead.

“Paranormal Urban Fantasy. Never Suburban Fantasy, though, just so you know,” I offer. “I leave that to the experts. Write what you know, you know?”

He chuckles. One of those real ones, despite my not even remotely deserving it. “Cool man,” he says. “Send me a link.”

“Um, ok.” I mean, he could just google me, but whatever.

————/-/————

“All right, mate?” he asks.

“Yeah! Of course!” I say brightly (maybe a little too brightly). I look around me at the bustling noon hour in the center of Sorrento with only the tiniest hint of hesitation. Because, really, it’s just the tiniest hint of a town. He doesn’t notice my case of nerves, thank God. I could not be more embarrassing.

Sorrento; Marina Grande is at bottom right

“All right, then,” he says with a nod, followed by an arching eye caterpillar. “But hear this, Simon. If you get gelato before I get back, that’s it man, we’re not friends.”

“Wow. That’s a little extreme, Billy. On the upside, does that mean we’re BFFs forever if I wait for you?”

“That’s redundant,” he points out.

“What?!” I fix the pointy fucker with my very best shocked-and-offended face, and clutch my figurative pearls. “I am not redundant and I never will be. How dare you.” (The groaning you’re emitting from your throat is ok with me. Really.)

“Ah, go on man, that’s two forevers. It’s excessive, innit. Are yeh really expectin me to serve two consecutive life sentences of best-best friend-friend?”

“Yeah, ok. I’m good with that. We’ll be BFFs forever twice. Like Outkast – forever-ever.” I’m sorry Ms. Jackson, I am for reals.

“I give up,” he says, rolling his eyes. Which offends me. Because I’m the eye-roller. He’s the head-shaker. And he’s stealing my gig.

“So that means I can go ahead and get gelato without you? I mean, you said you give up.”

“Fucksake, Simon, but you’re a pain in my arse.”

“You love it,” I grin at him. “What’s gelato?”

“Fucksake, Simon!” He repeats (redundantly!) and commences the head shaking.

“And how do I find it?” I continue, undaunted.

“All right, look,” he sighs. “The tourist shops are up thatta way. Walk round, buy some shit. Then be back here by half twelve, and wait for me gettin off the bus.”

“Bus? I thought you were parking the car.”

He looks as though he’d like to strangle me.

“No, seriously,” I assure him. “I thought you were just parking the car.” I shoot him a combo of the I’m-about-to-get-in-trouble puppy face, and the but-you-love-me-anyway puppy face. It’s all in the eyes. Make ‘em huge and glisten. Works on Ma every time.

But not on Billy, it turns out. Tough crowd. Instead, he just laughs and laughs. Which is actually quite a thing to behold. And whoa, he’s just walked over and I’m being wrapped up in an actual hug. Like, a real one. Right now.

“I’m glad you’re here, mate,” he says warmly. “It’s good to see yeh.”

I don’t remember the last time somebody really hugged me. Apart from Ma, obviously. Certo. I kinda want another one. But he’s back in the car and pulling the old Mercedes out into traffic.

OK, so…

I’ve got some alone time on my hands. I clap, all ready to go, but then I notice how weird I am and shove my hands in my pockets.

So I hang out on a park bench a bit and watch Billy get stuck in a traffic jam — while the drivers of two cars stop in the center of their respective lanes, for the express purpose of double kissing each others’ cheeks in greeting. I’ve just decided that I need to start an “Only In Italy” list. Which means I need a pad of paper and pencil. Don’t judge my medieval writing implements of choice.

————/-/————

The pencil and paper-finding mission takes over an hour, because I keep asking people for “llaves.” Which, it turns out, means keys. In Spanish. Dios mio, I suck at Italian.

I mean, can you blame me? I never bothered learning more, cuz I didn’t plan to come back anytime soon. Cuz, you know, painful. But then I realized I actually missed Italy. In all senses of the word, but most especially in the wistful, nostalgic sense of the word. And I guess that’s a pretty normal reaction when it comes to people thinking about their trips to Italy.

Plus, I actually know someone who lives here.

————/-/————

Ok, so I’m back where I’m supposed to wait for Billy.

I had hoped for an I heart Italy pen, but apparently that’s only a thing in the US. Here, it turns out they have taste.

And I still don’t know what gelato is. But at least now I do know how beautiful this town is. And how great the Italian people are. At trying not to laugh at you to spare your feelings.

While the entire city looks like burnished yellow gold when seen from a distance, up close there’s more variety. Like the chaotic good mix of blaringly bright tiled roofs. I’ve taken pictures of everything so I can practice my wistfully-nostalgic face again at a future date.

Chaotic good, no?

I’ve chosen a pretty cool spot for people-watching. Everywhere I look, life is happening there. Big, boisterous aliveness. It’s so weird. And also instantaneously addictive.

Ok, so:

Only In Italy

The sky turns lavender. I remember that from last time.

People park their cars at home and take a bus. (Ok, I suppose bridge and tunnel people do that, too. But the vibe is so much more ‘tiny Italian village’ here than in Brooklyn.)

There is only one road. The bus drives back and forth on the one road. For the entirety of this coastline, to get to any of the towns. No, seriously. I don’t think I’m adequately expressing this concept. (And my writer ego is taking a hit because of it.) From Naples (huge industrial port city) directly to Salerno (the next huge industrial port city wayyyyy down the coast), there is a big highway. But that highway doesn’t do shit for you if you want to see any of the seaside towns in-between. For every last one of the tiny towns lining the Bay of Naples, then down and around the whole Sorrentine Peninsula, and aaaall the way to the end of the Amalfi coastline, there is one road. One. Which means that anyone living in the town of, say, Sorrento, has one road – one road!!! – to get the fuck out of town. You either turn right, or you turn left. Your only way in, your only way out. That is nuts. Right? That’s nuts!

Locals have no problem with interrupting all traffic on that one road, by stopping their cars in the middle of their lane and getting out, just to double air kiss the oncoming driver who is now holding up traffic in the opposite direction. And no one (no one!!!) is offended by this. No one seems to realize they have a horn they can honk at precisely these moments. I am mentally horn-honking so hard rn.

Lines painted on the road are purely suggestions. Especially when there are cars idling in the middle of the road for cheek kissing purposes.

I don’t even know what to say about delivery trucks driving in reverse on the one road.

————/-/————

I look up from my Only In Italy list, startled by the squeal of the wheels on the bus trying to stop going round and round. And now I’m watching the bus disgorge a few tourists, a bunch of locals, and an Irishman.

You know, we really are an unlikely pair to form a friendship under unlikely circumstances. But I think I actually needed Billy in a way. I can be a pretty miopic guy, and Billy managed to pull me out of my tunnel vision, preoccupations, and woe-is-me’ing. And he’s done it more than once over the course of our acquaintance. All via text, which I find quite impressive. That is some potent friending.

I need to figure out how to thank him for that without making it weird. Cuz, I mean, things got pretty weird over the last several months, but neither of us is acting uncomfortable or hesitant now. He’s too laid back for that. There is one thing I can say without reservation: Billy Delaney is a good human being. A mensch, in other words.

I think I needed him in order to get over myself, and that is a bizarre thought.

“Look at the state of yeh. Writin away with your nose buried in a book, right where I left yeh. When you should be lookin about. Unbelievable you are, man.”

“My nose — which cannot write, by the way — is buried in a book precisely because I’ve been looking around. I’ve started an Only In Italy list. Submissions welcome.”

That earns me a Billy snort. Among the best snorts out there, actually, is a snort from Billy. How can he be so smooth yet still be such a dork? A dork who got lucky and grew into his – I surreptitiously look him up and down — well, his everything. Bastard.

And that’s not even why everybody loves him! He’s just a fuckin cool dude. Who likes people. And the whole Irish thing doesn’t hurt.

“So where to, man, where to?” he asks with a wide smile, interrupting my thoughts.

“I dunno. You’re the Italian. Let’s do Italian stuff. Like maybe get an overly caffeinated coffee beverage.”

“I am an Irishman, and you could be a tourist if you ever figure out how. You tourist first, and write about it after. Not during. How can you be so self-aware and so clueless?” Billy asks.

My breath catches in my heart. He thinks I’m self-aware?

“You think I’m self-aware?” I can tell I’ve got glistening eyes and they did it all on their own without prompting by my brain. I’d feel like king of the world if I was in Bushwick right now, and everyone within earshot heard him tell me I’m self-aware. And he doesn’t even know what kind of cred he’s just awarded me. “Thanks,” I hiccup.

“Why’re yeh lookin at me with love heart eyes? I just insulted you,” he asserts.

“Did you?”

“Called you clueless, didn’t I.”

Big, breathy sigh. “Didn’t notice. Don’t care. Can I hold your hand right now? We can go have a nice, romantic stroll thru the Italians. You can show me this gelato I’ve heard so much about.” I flutter my eyelashes, and take his hand in both of mine.

“Get off, you muppet,” he laughs, as he tries to extract his hand from my strong and persistent hand-holding.

Not sure if I’ve mentioned it, but a laughing Billy Delaney is something to see. His whole face splits into the widest grin and it lingers long after the laughing’s stopped.

“Oh my god, they are so hot together.” It’s a young woman’s voice coming from somewhere close by. “Oh my god, look at them.”

We both must share a brain because we both swivel to see who the hot people are. I mean, it’s the Medi/Tyrrhenian. It’s an innately sexy place, and people are just kinda generally super-hot here, and remarkably comfortable with being almost uncomfortably sexy.

“So unfair,” moans her friend. I agree completely.

Not finding the hotness they’re referring to, Billy and I both discreetly turn toward the shops to see who’s talking.

“Do you think we can turn them?” another female voice asks. They both dissolve into giggles.

I’m not spotting them. “Can you tell who-”

Billy says under his breath, “By the lemons.”

Guest starring: Two fangirls and lemons the size of your head.

As he and I both lock eyes with the girls, they spin into each other and start giggling as they stare at their phones comparing their stolen shots.

Billy’s caterpillars try to meet in the middle. “Aren’t they a little young to be lookin at us like-” he begins.

“Oh my god!” I stand bolt upright. “That’s where the gelato comes from!!! Billy. Billy, can we please, Billy? I will embarrass you if you don’t stand up immediately and show me which thing I should be pointing at when I ask for it.”

“How do you plan to embarrass me? What, you’ll start jumping up and down while clapping?” he challenges me.

In all seriousness I turn to him. “I’ve done it before. I’ll do it again.” I give him an arched caterpillar of my own, attempting intimidation-and-impending-threat face.

The two girls are squealing to each other, hiding behind their hair.

“To the gelato man!” I point boldly and decisively. “Let’s do this.”

Billy’s caterpillars are trying for a second kiss, as he rises slowly. He’s distracted.

“Why are you not running at the gelato man with me?” I hold my hand out to him. His caterpillars have graduated to blatant frowning at the girls after another particularly sonic squeal.

“Come on, Billy. That’s got to be too young for you,” I tease. “I hope.”

“How could you even suggest-” Ladies and gents, I give you horrified-face, Billy Delaney style. I give him a playful push to reassure him I’m just teasing, and that snaps him out of whatever bizarro universe he was temporarily trapped in.

His eyes snap up to see me laughing at his surprised, blinking eyes. “Come on, sweetheart, buy me a gelato. Honey, you promised.”

Head shaking follows, of course. Certo. As we approach the stall, he keeps sneaking glances between the girls and me. “What the fuck, Simon?” he whispers, while surreptitiously watching them over my shoulder.

We’ve reached the gelato man. Billy offers to order. “What kind?”

“The biggest kind,” I shrug. He snorts and turns to the gelato man. I decide to put the girls out of their misery while Billy is focused on purchasing whatever it is.

“Oh my god, it’s him! It’s really him!” one of the girls hisses, then they look away quickly as their cheeks turn strawberry in mortification.

“Excuse me, um, sir?” the blonde girl squeaks, while progressing from strawberry straight to raspberry. It’s always endearing. I can’t help it. I know what it is to belong to a fandom. Like, being the fan, so I get it.

“Hi,” I approach, and awkwardly raise my hand in greeting.

“It’s really you,” the brunette whispers.

“I can be only one. Y’know, cuz, like, Highlander? No? Ok. Well, hi. I’m-”

“Simon is Simon,” whispers the brunette.

“The one, and the same. Both of us.” I am so embarrassing right now. But they are equally horrified at themselves. So, its a party.

“Can we have a picture?” They turn their pleading puppy eyes on me.

I have to admit, “Your puppy eye game is strong, girls. Practice, grasshoppers. Keep at it, and one day maybe you’ll be pro level like me.” This gets them giggling again. But they’re relaxing the adrenaline a bit.

By the time Billy returns with his booty, the three of us are comparing which of the puppy eye shots should go on Instagram first. I’ve already made my preferences for #2 known, and I’m ready to disengage.

I look up. “It’s ice cream?” I stand and give the girls hugs again.

“Thanks, Simon! We love you so much,” they sigh. Then, looking down at their phones they charge into the street, nearly walking right into an old lady carrying a salami so long that it’s an obscene parody of itself.

“Tag me!” I shout after them.

Mental note: “Only in Italy #7. Old Lady with huge salami that she didn’t buy at Katz’s.” Instead, she’s clearly coming from a shop with “Salumeria” over the door. A frickin salami store. I love this place and never want to leave.

“The deli?” Billy asks, shocking the shit out of me.

“How do you know about Katz’s?! Send a salami to your boy in the army? I’ll have what she’s having?”

“You talk in your sleep, mate,” he replies, straightfaced.

“But- I mean. Cuz like, we’ve never-” I stutter. Great. I’m stuttering.

He’s laughing at me. Which I’m ok with.

“Ow!” he barks, after I slap him in the arm. “Is this how you treat all your dates? Just shush.”

My mouth snaps shut. I am just as surprised about it as he is.

“On your first night in Italy – now don’t interrupt, your last trip never happened – I am honored to introduce you to, nay, expose you to the most Only In Italy thing for your list. The ‘passeggiata.’”

“The what now? Passage otta?”

“Close enough. La passeggiata happens every single night, tourist season or not. Big city or tiny village. Before dinner, everyone en masse decides to go for a walk in town. A lazy, amblin sort of people-watchin activity. Everywhere, the whole country. Late afternoon before dusk you stop and buy a gelato and eat it slowly while the world walks by.

“Passage otta,” I like the sound of that. In Manhattan we call that Times Square at 5pm. But without neon green milk-based product melting down your fingers. But then again, in Times Square you never know. “What the hell neon green thing did you buy me?”

“The biggest one,” he answers, passing it over with a bunch of napkins.

“Why is it the color of Mike Wazowski?” I demand in horror.

“Who?”

“Mike Wazowski! Mike Wazowski! Mike Wazowski. A triple Mike Wazowski: Bucket list, check.”

“Simon.”

“Mike Wazowski. But more importantly, why is it neon green? Doesn’t that mean it’s poisonous? Neon green is nature’s helpful way of warning us about impending doom. Like, did you know one tree frog contains enough poison to kill ten men?” Thanks, BBC. “So where do we go?” I ask.

“Let’s sit a spell over there. Ideal spot, really. Great view down the cliff to the Marina Grande on that side, and the high street shops over here.”

“The tiny tiny baby automobiles are sooooooo cute.”

“I’m partial to the Vespas,” he asserts.

“I want a tiny adorable Vespa so hard right now. Can we get a Vespa, Billy, please?” I plead. “But no, really. What’s with the green ice cream?”

“Simon. It is not ice cream. Say that within range of an Italian and you’re looking at prison I won’t know how to rescue you from.” He points at the cup. “Pistachio. One of the most iconic flavors. And a favorite of mine. Which means that if you hate it, which you won’t do, but if you do, this is a flavor I like enough to eat ‘the biggest one.’”

“How thoughtful of you.”

“I’m a very thoughtful person,” he promises with a sly smirk, which I assume people find sexy. Cuz it kinda is.

I elbow him in the ribs and he giggles. Billy giggles? This is new information. It’s kinda musical, like an arpeggio up the scale. Now I’ve got do-re-mi-fa-so stuck in my head from Sound of Music. Gross.

But I like this, sitting here watching the passage of people as they make their nightly parade. This is why people live here. It’s that big, boisterous aliveness I was thinking about earlier.

“Only in Italy #8: People take walks, not for exercise or the subway.”

Billy Delaney sighs. It’s true. He just did. Then guess what he says next. “Fucksake this is romantic.”

“I know, right?” What, it is.

“First time out of the United States?” he asks.

“What’s that supposed to mean?” I feel like maybe I need to be offended.

“It just seems like, you know,” and he waives his hand at me as if that’s all the explanation necessary.

“I’ve been to other countries.”

“Oh yeah? Did it require leaving the North American continent?”

“Shut up. And stop laughing, you asshole,” I grouch at him, because I have been overseas — just not alone, is all. “But you know what you can talk about? How awesome and totally not ice cream this stuff is. It’s so creeeeeamy, and so light, and fresh, and not heavy at all, but still creeeeeeamy. And the Mike Wazowki flavor is really intense.”

“See? What’d I tell yeh?”

“Not much at all, actually,” I observe. He rewards me with the bark of a laugh.

After a few minutes watching la passeggiata in companionable silence, Billy prompts, “One thing I’ve been meaning to ask yeh. You talk a lot about writing. What’s that about?”

“I just love it. Never gets old. Hope it never does. But I can’t really see myself writing more than five or maybe six, tops. Tops,” I assure him.

“Five or six what?”

“Books.” Are we participating in the same conversation? “I’m late with the fourth because the fans want one featuring way more Simon Lewis with way more love story. And that can only be the case because the author, Simon Lewis, wrote himself into the story in the first place. There’s a hashtag for it #SimonIsSimon.” I heave a sigh as if the pressures of the world are far too much for little ol’ me to handle. Actually, “They get really into the whole #SimonIsSimon thing. People get tattoos! I’ve seen it online! Insane.”

“Simon is Simon,” he pauses. “Isn’t that a band?”

I shrug. “Could be. I guess.” I should look that up.

“So,” I continue, even though I’m already sick of the sound of my own voice. (I secretly fear that I might actually be kinda boring.) “Other Simon is this fictitious shoegazing hipster vampire, who lives in a book. Me Simon, is the author. It helps that we are a lovable dork,” I gesture at all of me to prove my point. “And in a love triangle. Dude. I even have my own #teamsimon. Which is super cute. It is also super weird, being a fan favorite.” Especially at the cons.

Billy sits forward. “Hang on, hold up. There’s a fan favourite?”

“Several fan favorites. All the main characters have their Big Moments in the series. Now I have to just suck it up and come up with the right romantic destiny for Other Simon. Cuz right now, there are two girls crushing on him. It just took until book 4 before I’m finally willing to let that happen.”

“Is this online somewhere? Like a blog or something?”

My first instinct is that he must be ‘taking my piss,’ or something gross like that, so I shoot him a glare. But now he looks so earnest that I feel like maybe we really aren’t in the same conversation.

I can feel my glare turning confused. My mother says this expression makes me look like I’m sucking lemons and don’t know why. She calls it Confused Sourpuss. I have yet to come up with a polite, respectful way to say, “Shut up, Ma.”

“Online? Well, yeah. I mean- There’s the fan wiki. But honestly, I’d just recommend starting with the blurbs on my website if you want to decide if it’s worth your time.”

Apparently Confused Sourpuss is not conducive to conversation. He stretches, and stands, then bumps my shoulder. “Come on, mate, let’s get outta here. Day’s marchin on, and you haven’t been down to the marina, yet. La passeggiata happens down there, too.”

————/-/————

No. I’m not afraid of heights. No, really. I’m not!

It’s more like I’m afraid of stairs. Especially stairs like these.

The Hell Stairs. Simon is overreacting.

Billy’s way ahead of me, because of course he is. Just trotting down them, every switchback. Meanwhile, I’m pretending I’m actually trotting when really I’m clinging to medieval stone walls rising vertically like the face of a cliff.

Sure, there are handrails. To keep you alive and all, but just like, one continuous wobbly pipe to hold onto all the way down. And there are at least 100 switchbacks. At least.

I guess it’s a tourist thing. “You have to take the stairs - at least do it once,” he said. “And it’s the fastest route down to the marina.”

He said “marina,” and I pictured lazily strolling around, some restaurants, some shops, stop a couple times for too much caffeine. “Good sunset, too,” he promised. So I was all up for it, and now I’m breathing rapidly and sweating – for anxiety reasons, not physical exertion reasons.

It gets chillier the farther we descend.

This could actually be a really frickin cool setting for a scene with the vamps. Why climb the stairs when you can scale the old medieval walls, am I right?

Billy’s voice hits me, and I swear I almost jump out of my skin and die. And have an asthma attack. (Fuck Other Simon for not having asthma. Bastard.)

I have no idea what he’s just said, because the sound of his voice is bouncing unintelligibly off the walls.

Attempting not to be a Loud American is a major fail, because I’m shouting, “Buongiorno!” and, “Arrivaderci!” so I can listen to the echo ricochet. And it’s awesome how the faint sound of passing cars way below lends a sort of staticky background noise as it travels up the height.

Billy stops laughing at me and tries to muster the balls to shout. Irishmen. Feh. Sometimes it’s useful to be an American. Especially when absolute dickheadery is necessary. Good thing I’m here.

“Just shout something, already! We can pretend you’re American, if that makes you feel any better!” I shout down to him.

All I get is a thousand rebounding “What???”s in return.

When we finally get down to sea level and emerge from the Hell Stairs, we find our way over to the Marina Grande. I want to kiss the ground now that I’m back on it, but determine that it might cause some concern amongst passersby.

Billy looks grimly at me. “You, my friend, must prepare for some of the best seafood of your life. An orgasm on your tongue.”

Um, “Hey now. That’s a little too visual, thanks.”

“Just don’t go makin yourself sick with too much cappuccino.” He scratches at the five o’clock shadow on his chin, looking thoughtful. “Will it deter you if I threaten to get really mad at you if you ruin your appetite? Or are you more likely to get too much cappuccino just to spite me?”

I gasp. “You get me, Billy. You totally get me.” I wipe away my imaginary tears. “It’s so nice when someone totally understands me and everything about me. Come on, buddy. Bring it in,” I say with my arms outstretched for a hug.

He unceremoniously declines.

————/-/————

Billy knocks back the last of his cappuccino. I’m still only two sips into mine.

I feel like I might hate biscotti. They seem like a thing I would hate. Mine’s just staring at me from its plate, looking all rock-like, with pebbles of almonds and whatever greenish nuts get put in biscotti. Are you supposed to suck on them til they finally soften? Dunk ‘em? No thanks. I push them across the table at him.

“So what’s it like, trying to be an author?” he asks.

I’m kinda amazed that he’s remotely interested. But he still doesn’t seem to get it. “Um, I am.”

“You ‘am’ what?” he asks.

“An author. Like, a published one.” His caterpillars arch upward in a rather gratifying fashion. Even if that makes me an asshole, I’m still an asshole who just wants people to be impressed with how awesome I am at all times. Just because I’m not 15 anymore doesn’t mean I’m not 15 on the inside. Especially as I get older, but Other Simon stays the same age.

“What’s that like?”

“Um…” Now I kinda feel like I’d be dishonest if I let him continue to think in the wrong scale. “Ok, so I’m just going to level with you. I don’t want to give you the wrong idea.”

“Nah, man, don’t worry about it. I’m sure you’re really good.” He’s looking at me with fondness and with pity. That’s a pretty advanced level facial expression. And it’s infuriating.

“Billy? Don’t try to be nice, just shoosh.” Am I a terrible person for enjoying watching his trap swing shut?

“I am the author of three novels so far, in an open-ended supernatural urban fantasy series.”

“Hang on, hold up. How old are you?! You can’t be old enough to have written three whole novels.”

“Started writing the first one when I was 15.”

“Oh, right? That’s great man, really ambitious for a kid to have a big dream like that. And you’re still at it?”

“Billy, I swear to God. If you don’t stop prematurely trying to make me feel better I’m going to kick you in the shin. So yeah. Three books. That have been published. In roughly 30 languages.” I’m not really a fame whore, but I have to admit to enjoying watching his eyes bulge, his mouth purse, and his face turn pink. Now it has turned thoughtful.

“Did you- Wait. Did you write The Shadow Instruments?”

I grimace.

“My cousin loves those books! Has done since she was 15,” he declares.

“Sounds about right. I’ll sign a copy if you think she’d like that.” Then it hits me. “Ugh, I sound like such an asshole.” My red forehead feels cool against the marble table top where we’ve stopped to enjoy one of those overly caffeinated beverages they invented here.

He’s been silent a little too long.

Oh. That’s why. He’s googling me. I want to die. I’m leaving everything to my sister. My forehead returns to the table top. It’s less embarrassing there.

“Fuck me,” he says.

“No thanks,” I mumble. “We’ve only just met.”

“That’s not true,” he says absentmindedly, his attention still 99% focused on what he’s reading.

“It’s called artistic license. And you’ve only just met the new and improved Simon Lewis. Crying chibi Simon Lewis drowned the other day. Memorial donations go to the charity of your choice.”

“Huh?” Then he goes silent.

“There’s something fundamentally wrong with you being quiet. It’s unnatural. I don’t trust it.”

“Just thinking, that’s all,” he answers.

“You’re thinking thoughts. Great.”

“Do you narrate everything in your head? The way you talk it sounds like you’ve got a running commentary goin on up there. At all times.”

“Accurate.”

“Is that what makes you a good author?”

“Who says I’m a good author?”

“My formerly 15 year old cousin,” he says with a smirk. He’s smirking. Great.

“She would know,” I say, nodding. “Everybody loved the thought of a 15 year old writing about young people his own age. ‘Such an original voice,’ they said. ‘A breath of fresh air in a genre full of middle-aged women writing for tweens,’ they said. Nevermind that YA is not for tweens. They’d know that if they bothered to read one. My characters are underage killers! Of people and things! And when they get older, I’m going to make them swear. And maybe there’ll be sex scenes. I’ve been researching.”

“You had to do research for the sex scenes?” He looks disbelieving and confused. It’s very squinty.

“Well, they’re sorta…I dunno…I mean- cuz there’s kinda, like, these two boy-” Yeah, and that requires some research.

He’s not even listening. He’s back to googling. When he finally looks up again he says, “I’ll take that signed copy.”

————/Billy/————

The sound of doors openin makes me glance up at the cafe, and there is a proper stunner driftin out like an apparition. Actually, I see her more as a Mata Hari, in all her floatin, gauzy scarves she’s wearin as a cover up for her bikini. And they’re not doin a damn thing to cover her up. She looks Italian, all tanned olive skin and dark hair, but there’s just something different to her. In her manner maybe.

Her fingers are flashing big bits of rock, her eyes are hidden by absurdly oversized black sunglasses with a logo I’m supposed to recognize, and she’s sportin a huge black hat with a brim so wide, it’s a miracle she’s got a tan at all. If I could guess, she’s off one of them yachts out there in the deep waters beyond the marina.

And she’s makin straight for me. Hmmmm. What can I say? It happens.

“Simon Lewis,” she purrs.

Oh. Right.

“Sabina,” he answers drily. I must say I’m surprised. Seems Simon’s got some game.

He stands and they air kiss each other on both cheeks. “Now,” he says, gesturing outward as if he’s indicating all of Italy, “I get why you’re always kissing everybody.”

So she looks Italian, kisses like an Italian, but doesn’t sound at all Italian. It’s a weird accent I can’t quite identify. And I’ve a pretty good ear.

“Why are you in Italy?” she asks.

“Why are you?” Game on, Simon!

“Oh, you know how it always is,” she sighs in boredom. “I’ve got a couple gigs here and there.”

“On the Amalfi Coast?” he asks.

“Oh, you know,” she trails her fingertips along our table, “some people, some parties, Capri, Naples.”

I stand and pull out a chair, finally remembering my manners. “Will yeh join us?”

The way she pulls her sunglasses down her nose and scans me from top to toes, I’ve never felt so much like man meat — at least never with my clothes still on. “Hello,” she says. “Haven’t you got good eyes. And a good face. And-“

“Sabina, this is my BFF forever, Billy Delaney. He’s Irish,” Simon qualifies, as if that explains something. What’s that supposed to mean?

I hold out my hand, but she’s already turned all her attention back to Simon, giving him the same up and down appraisal as she’s done me. “You look good, Simon. What happened?” she asks.

I don’t think I’m takin much of a likin to her. Her compliments sound a mite like insults.

“Nevermind,” she cuts him off. “No time, they’re waiting,” she says, gesturing toward the marina. “You should come to my show this weekend in Naples,” she says, taking Simon’s new notebook and writing something inside.

“Is there a venue the right size for you guys?”

“No no. Not with the band. It’s just a tiny little gig I’ve got spinning at an underground club no one is supposed to know about. You know the ones. Come.”

“Maybe,” he says blandly. Stone Cold Simon Lewis, ladies and gents. Who knew?

Her eyes bounce back and forth between Simon and me. “Billy,” she says, dismissively. I don’t think a girl has ever spoken to me like that in my life. Before I can speak, she’s turning to Simon and kissing him full on the mouth. “Ciao, Simon,” she purrs again. Then she floats off in a swirl of gauze that barely covers her assets.

I don’t think I’ll be missin her company overmuch. And yet, as a consummate wingman I still find myself asking, “Why didn’t yeh get her number?”

“Oh, I already got her number,” he says. “And she already shot me down.”

————/Simon/————

Just a short walk beyond the marina, the restaurant is on the water. Literally. I can hear the sea sloshing peacefully against the foundations at our feet.

They’ve seated us at a table against a wall of windows that runs the entire length of the restaurant. Even if the food isn’t orgasmic the way Billy promised, I could sit here for hours just looking.

Billy sees the rapt expression on my face, and says quietly, “Just wait til you see the sunset.”

And suddenly we’re ordering. Billy has chosen some really unappealing stuff. But for me he immediately orders a lobster, and smiles to himself as if he knows something I don’t. Which is likely how to speak Italian. Or how to cook.

While we’re waiting on our Neapolitan style sardines (which I am really not looking forward to), Billy asks, “You wrote yourself into the book and y’didn’t let yourself get the girl? What’s the point, if you don’t win in the end?” He’s looking at me as though he’s never seen me before, or at least has never mistaken me for an amoeba before.

“Oh, we won in the end.” Pfft, did we. “Yes. Yes, we did. I am very proud of our having won that war, by the way. It was close, til Other Simon mans the fuck up. Vamps the fuck up, really. And oh my God does he. Big displays of courage. And facial tattoos. But whatever.”

“Right. Now stop speaking in inside references and get on with it, man.”

“Dude, don’t ask the impossible. I was born a hipster. You can’t just unhipster at the drop of a hat. Seriously, it’s a lifestyle.”

And yes, fictitious audience in my head, you might be shocked and dismayed to discover that hipsters actually do refer to themselves as hipsters. Out loud. Without irony.

“So yeah,” I continue. “We won in the end. And I kinda sorta got the girl. The wrong one. For like 5 seconds.”

The waiter appears with olives, bread for dipping in very expensive oil virginally pressed from local olives, and the Pinot Grigio Billy requested. He didn’t just choose the wine. He selected it. From roughly page nine in the wine portfolio. They didn’t call it a portfolio, but I feel like they should have. Sounds vaguely Italian and schmancier than ‘wine list.’ The waiter assures us that the sardines will be ready shortly.

————/-/————

Oh my god I can’t eat them, they have eyes. And tails, and everything in-between. And they’re way bigger than the tiny ones in tins they stick on Caesar salad back home. They’re, like, actual fish-sized, if a little smaller than the usual dinner fish. And there are like twelve of them. WTF?

“They’ve been gutted,” Billy says, seeing my horror. As if that’s reassuring. “And the bones are tiny — they just add a little crunch.”

“Ew, gross!”

He’s laughing at me. “Simon. When in Italy…”

“When in Italy you eat fish whole? I’m going home.”

“Pull it off the bone. It’s delicate, so it’ll be easy. Like me to do it?”

“Yes, please. Then you should eat it.”

Billy sighs, and along comes my old friend, the shaking head. I roll my eyes quietly to myself.

He’s whisked away my plate and started a very careful, not at all easy-looking minor surgery on a small fish. For my benefit. “Thanks,” I say warily, when he hands it to me. I try pushing it around my plate to make it look like I’m eating it. “Yum,” I say.

“Simon, just stick the little grubber in your mouth.”

“And that’s supposed to make me want to eat this stuff? What’s a grubber?!”

“Simon.”

“Billy.”

“Please?” he says. “For me?”

Oh my god, does that work on people? Yes, because it works on me.

“Wow. It’s actually good.” And now that I’ve tried it, for him, I stop trying it. Because I’m no less grossed out, just cuz it tastes good.

Unfortunately, there is still the meat of ten sardines still left sitting on the plate. Not my problem, “I’ll just enjoy my Pinot Grigio. Holy shit is it good.”

Oh no. The waiter is heading this way with a very concerned look on his face.

“You are not liking the dish?” …of fish, I want to end the sentence for him like Dr. Seuss. But “merp” comes out instead.

“No, no Tomaso,” says Billy. “It’s lovely. He’s just American.”

“Hey!” I shout at him in my head. In real life, I nod in agreement.

“Ah. Si si si, certo,” says Tomaso, as if that explains everything. Which it kinda does. “Soon I bring to you il piatto secondo,” he assures me.

“But that’s not what I ordered,” I whisper to Billy when Tomaso walks away.

Billy’s eyes crinkle in amusement. “Second plate, that’s all, mate. Main course.”

My lobster arrives. Now this I know how to take apart and still want to eat it afterwards.

Guest starring: Mini fish and lobster. The sardines were awesome, btw. But there was freaking out about the ‘whole fish’ thing.

“Aw! They don’t debone the mini fish, but they’ll split the lobster? It’s the one thing I know how to eat with my hands, and they take that joy away from me? That is so not normal.”

Billy’s laughing. It’s a good sound. Makes me happy that he kinda seems to get me. And my humor. And he gets how to take me — with like a whole bunch of salt thrown over one’s shoulder.

“Respect the chef,” Billy says, raising his glass. “And to Poseidon, who gave us these frutti di mare. Fruits of the sea.”

We’re toasting-slash-praying to Poseidon now?

I pose the question, “Did you know that chicken of the sea is actually a fish?”

“Em…… Right, so it’s wise to toast Poseidon, mate. He has much power on this coastline. Ancient rocks full of Greek magic.”

But all rocks are ancient. Whatever. “Ok,” I raise my glass. “To the sea god. Also, are you like a closet mythological sea god fetishist?”

“Shut up and take a bite,” he commands. Frickin commands! I shiver.

I decide to play along and follow his command. “Oh my-“

“Stop there!”

Rude.

“Like wine, the very first taste is your first exposure to how the entire dish should taste at its very best.” Ohmygod he is so pretentious right now and I am loving it. “And with each bite, your mouth grows a little more accustomed to one or another part of the larger flavor, so that first bite is the fullness of what the chef intended you to experience. What do you taste?” he asks.

“Oh my god, Billy. Stage fright much? How am I supposed to follow that?”

“Simple question. What does it taste like?”

“Tomato…..that tastes really bright. Like sunshiney. Is that weird?

“That’s perfect. Keep going,” he encourages.

“But it’s not, like, tangy at all. It’s….velvety?”

He nods, “On the tongue.” It’s just a statement of fact, not sexy.

“And kinda more like a gravy. No, that’s totally wrong, cuz it’s not at all a gravy, but it is. I guess it’s rich. How can these tiny little tomatoes taste sunshiny and like gravy velvet.” I groan, “Why am I like this?”

“Nah, man. You’re just doin it right. What do you see on your plate?”

“There’s lobster. That’s part of the flavor, too, but not the loudest part. The silky sauce clings to every surface of the noodles. And these noodles are almost obscene. Who sells noodles like this?”

“Pasta, mate. And nobody sells it. The make it. Just saving you from unintentionally speaking inflaming remarks near a chef.”

“Thank you,” I nod. “It’s like you know me. Also, is it weird that I might have gotten a stiffie during all the food talk? Or maybe it’s the food itself….that you won’t let me eat.”

“Go on, man, go on,” he waves.

“Now you’re like, beckoning me to eat. Stop that. My dick is confused.”

Billy just says, “What did I tell you, mate? Next bite is the orgasm. You’ve already done the foreplay.”

“Stop it!”

He does. But, “You’re still smirking, so it’s like you’re still talking food porn.” Down, dick! Bad boy. Sit.

“Nah, man. You were the one talkin pornographic descriptions.”

“Oh, good,” I sigh a breath of relief. “So it was me that gave me wood, and not you. I’m less confused now.”

“It was four ingredients givin you a horn, man. Four total. What is visible on the plate and the oil in the pan at the start.”

“You’ve got to be fucking kidding me.” Apologies, Poseidon.

“Welcome to campania, the fertile, bountiful, fruitful.”

“Now my dick is confused by you being so over the top. Stop.” I take another bite and just roll the pasta around in my mouth. On my sophisticated palate. “I’ve died and gone to heaven.” I jump. “No! Wait. I’ve dined and gone to heaven.”

Billy is groaning loudly, but not in an appealing, sexy way. More like a way reflecting his complete disbelief at the quality of my punmanship. He’s heaving a sigh, as if I’ve pained his brain and sprained his sterling image of me. Nah, he knows me well enough to lack illusions about the varying quality of my puns.

“Lord, Simon.”

“I like the sound of that.”

Billy snarfs wine out his nose. Which makes me feel both good and sorry for him. “FUCK, not again!!!” he moans, holding his napkin to his face, and rocking back and forth in his chair.

“Again?” I have to know.

“Red wine is not quite as bad as vodka.”

I pull back sharply and hiss in sympathy.

Who hisses in sympathy?! Kill me now. Someone. Please.

“Where was this vodka incident?” I have to know.

“In a minute. First, put some food in yer mouth,” Billy directs me.

“Yes, sir!” I wink at him. But then I’m back to the potential for an orgasm on my tongue. “Oh, my god. What the- How- How is it even better than my short term memory of it?” The food has rendered me incoherent. God, I hate it when other people are totally right. It’s a character flaw. Whatever. “I just want to roll it around on my tongue for the rest of time.”

“Have yeh tried that line with a girl?”

Oh my god, I think I’m blushing. He just made me blush! How old am I? “Pishhh,” is the entirety of my answer, because sometimes Yiddish speaks louder than words.

“Don’t be embarrassed, mate. An orgasm on yer tongue, yeah?”

“Oh my god,” is how brilliant at speaking I am right now. “Yes, I can feel my panties getting wet as we speak. Oh! And I’d like to bathe in this. Do you think they could arrange that? I’ve always wanted to bathe in pasta. And being that this is the best pasta on earth, I really do deserve the very best bathing experience, too.”

“Stop while you’re ahead, Simon.”

“Ouch! And yeah, baby. Come to daddy. You beautiful lobster, you.” I am not flying my fork around like an airplane at a fine dining establishment. But I did consider it. “Y’know it’s funny. It never occurred to me that there might be lobsters outside of Maine.”

Billy slumps (theatrically, I might add), then empties the rest of the bottle of wine into his glass.

————/Billy/————

“You cold?” Simon asks, then tosses the shirt he’s had tied round his waist at me. “You shivered.”

I must not have heard whatever he said next, cuz Simon is asking. “What?” And his eye caterpillars are creased together. Now he’s laughing. “You should see your face!” It’s said with humor, but I must have flinched. The smile has begun a decided slide as if gravity had something to do with it.

“Thanks, mate,” I manage, trying not to show how much that simple observation has affected me. Nobody ever notices stuff like that with me. Or actually pays attention after they ask how I am. I’m used to it. But here comes this lunatic in front of me, and he bothers to notice that I’m cold. I don’t know what to do with it. I am at a loss.

“Sure, whatever.” He leads us through the door and back to the street.

“Wait.” He’s stopped in his tracks. “We’re not going back up the hell stairs. No fucking way.”

I raise my hands and shrug, because yeah, “That was the plan.”

“You have got to be fucking kidding me. No fucking way.” He makes me watch him put his foot down.

“What, man, are you scared?”

“Yes!” he splutters.

“Don’t want to break a sweat? Or worried about a fall to yer death?”

“No and yes, in order. Asshole! And here I thought you were this big-hearted guy, but you’re just a tall, handsome, Irish, Mean Girl. I thought you were better than that, Billy.”

“I’m still stuck in the beginning part where you think I’m handsome?”

Simon gives me a dramatic shocked-horrified look.

Now this is the part where I start wondering again… “Theatre school, Simon. Admit it.”

“Dammit! You asshole,” he says, raising a finger to make his point.

“What did I do?” I demand. “Yeh needn’t be very embarrassed about the theatre school. It’s only really just a wee bit embarrassing. Just a wee bit,” he reiterates.

“You wish you went to theatre school,” he sneers.

“And there it is, ladies and gentleladies, the truth. Theatre school.” I’m laughing, I mean Jaysus, what else am I supposed to do with that?

He rolls his eyes. “Imagine you at theatre school. You’d prolly get a movie like the first thing you tried out for. That face, Jesus. Sometimes I kind of hate you. I mean, not like, a lot. Just enough to thumb my nose at God and say, ‘He could be better, y’know, God. Somewhere is a flaw, I know it.’”

Now he’s eyeballing me. “Your turn to look for it, God. I need a break.”

Now Simon is turning to me with a discomfiting curiosity. “Have you ever been shot down? Like by a girl.”

I’m speechless. What the hell am I supposed to say to that? It’s not like he wants to hear the truth. “What the fuck, Simon. What’re yeh on about? What’s gotten into yeh, man?”

“You’re avoiding, redirecting. That means you’ve never been shot down, have you?”

The good thing about this idiocy is that we’ve reached the stairs, and he still hasn’t noticed.

“I’ll tell yeh this, mate. Your girl, Sabina – she had no eyes for me, man. If I’d have tried it on with her, she’d’ve definitely shot me down. It was rather an emasculatin feelin, all told. I hope to never repeat it.”

He’s smiling and keeps climbing.

Until, “And you asshole! For making me climb these fucking stairs!”

————/-/————

Masterlist || ao3 || Start: Jan || Prev: April || Next: June wip!

————/-/————

[liesmyth]

to me the thing about john hypothetically raising gideon is that john is obsessed with revenge (and anyone/anything likely to get in the way of his revenge plots) but he doesn't seem particularly interested in being cruel to people who haven't crossed him. and that's better than what the ninth did to/for gideon (though of course that's not saying much). the fact that gideon isn't a necromancer makes it less likely that john would see her as a Tool of his Quest for Revenge like he does with the lyctors. they would be necessarily more separate, in a way that's probably healthier than the rest of what goes on in the mithraeum (again Really not saying much!) -- so it actually seems plausible to me that gideon would have a non-terrible childhood/early adolescence in this scenario, though in the end she might be pushed into some terrible role as john's "heir" regardless overall i think gideon would be treated way better than harrow was in htn, specifically because she is neither a potential weapon nor a significant threat. i'd also acknowledge that among the lyctors, that in itself might mark her as a failure and a disappointment. there would also still be the isolation of having to live with a bunch of ruthless adults (and no one her age) all the time. and yet! I think they'd still have some genuinely good times together, and the positive/mixed-emotions memories would make john's ultimate betrayal(s), whatever they may be, even messier for all involved

I'd go as far as to say that she might have an above-average childhood, by the standards of everyone else in the Houses (and whose fault is that, Jod? but I digress). I agree so much that she'd be neither a weapon nor a threat and be happy for those reasons, but depending on the circumstances around her birth / upbringing... it could get messy in several different ways (having to Do Shit as The Heir is one; John being controlling and possessive is another; her blood being the key to the Tomb of Doom is a third, etc).

I also don't know about the Lyctors! Assuming nobody dies when all the various revelations around Gideon's birth come to light (treason on one side, Alecto's eyes in Gideon's face on the other) who knows where the Complex Power Dynamics might end up. I tend to think any divine highness AU Gideon (or adjacent) would have grown up with the Cohort and not on the Mithraeum (especially because it'd be tricky for her to get there) but there are MANY possibilities.

[tiredspacedragon]

In the hypothetical alternate universe where Lego is willing to throw all available budget at a Bionicle G3 and you somehow found yourself in charge of the story team, how do you think you'd approach it?

Here's a weird thing about me. If you were to ask most people to boil Bionicle down to its bare essentials, chances are most people would say something along the lines of:

Six biomechanical, elementally-powered heroes wearing Masks of Power

A vibrant, likely tropical, island setting

An overarching sense of mystery, or at least history, that is central to the plot

And fetchquesting

If you were to ask me the same question, I would rhyme off all of those things plus one more: a giant robot.

Judging by G2 and a lot of fan opinions I've seen on how they'd do a G3, most people don't seem to consider the Great Spirit Robot an absolutely necessary part of the Bionicle story, but to me, it's indispensable.

Now sure, you can tell a good Bionicle story without a giant robot; I don't think G2 was bad specifically because it didn't have a giant robot. But the way I see it, the Great Spirit Robot, or at least some equivalent to it, is key to Bionicle's identity. So much so that the franchise is named after it. Bionicle is a shortening of "Biological Chronicle," it's the story of Mata Nui's biology. Now if you wanted to do away with the giant robot plotline, you could say that your version of Bionicle actually means "Biomechanical Chronicle" instead. You could totally do that and there would be nothing wrong with that. But if I was in charge of a hypothetical G3's story, I would want to stick to the franchise's roots. Which means the giant robot would be a central part of the story; that robot is what Bionicle is all about.

Of course, I don't think it would be wise to try to pull off the same twist again. Any returning fans, and any new fans that did their research, would be expecting the giant robot twist from the get-go. So instead, I wouldn't hide the robot, I would make it a focal point of the story from the very beginning.

My idea is this: Just like we're used to, the robot crashed landed long ago on a watery world, but unlike in G1, it wasn't a clean crash. Not all of the robot is underwater, and it was severely damaged in the crash, to the point that is 100% no longer operational. Not asleep, just totally wrecked. The story would pick up some time later, maybe 1000 years, just to be quaint, or maybe not, and biomechanical beings now live on the islands around the crashed robot, which they routinely travel into to scavenge materials to build and maintain their settlements, technology, etc. Very much playing with the idea of whalefall. The characters live their lives off the body of a dead god.

The plot would be centred around the questions of where this robot came from, and why was it made? What purpose did the characters serve inside the robot, presuming they know they came from it in the first place? I could see potential long-term plotlines based around finding information inside the robot, discovering it was conscious and that consciousness may have survived the destruction of its body, maybe even an end goal of restoring the robot. There's lots that could be done with this premise.

Where G1 started out very fantastical and transitioned more into hard sci-fi, I think my version would do the reverse. The robot is right there from the beginning, the sci-fi is plain to see, but as the characters dug deeper and more secrets were uncovered, things would get weirder and weirder until it became clear that there was little difference between this world's science and magic.

But yeah, that's pretty much how I'd handle it. I don't really have any concrete ideas for how each story year would go, like what the specific plot behind each set wave would be, but the general idea would be this story of characters wondering and learning about their origins, with themes of exploration and discovery. Bionicle meets Ghibli-esque hopeful post-apocalypse, kinda.

[quibbs126]

So I made a new character

This time he’s a completely original character, not meant to be any (technically) pre-existing ones in the Layton series, so that was interesting. I started out by making a sketch of him on the memo feature in Diabolical Box. It’s not that great

But yeah anyways, so this was me trying to think of a plot for that hypothetical scenario where Layton and co go to a town where everyone wears bauta costumes, aka like what Descole wears, and this was one of the characters (actually the only one) I made for that. As of currently I don’t really have a name for him, other than my brain calling him Nikolai, but I don’t feel like that makes much sense considering he grew up in this town that’s supposed to be based on Venice with potentially some French influence considering the only actual character with design elements like that having a French name. So yeah as of now, I don’t know what to call him. But for the sake of simplicity, for the rest of the post I will be calling him Nikolai (If you have any name suggestions please tell it would be much appreciated)

So the design on the left would be his casual outfit he wears at home (and probably what we first see him in), while the one on the right is the one he wears when out and about in the city. He probably goes under a different name under that outfit as well, so as to protect his identity

Oh yeah also, he uses a cane (in both outfits), I just didn’t draw it. He does actually need it though, and also it has a sword in it

Gonna be honest, not too fond of the one on the right, I think I need more practice in trying to draw outfits like this. I used some paintings I found on Google as references, but I think I still need some better references, as well as just figuring out how that top cloak thing works

I’m thinking he might be the one to send a letter to Layton to ask for help here, but I’m not entirely sure yet

But it’s his past that’s more interesting here, as what I’m thinking is that when they were teenagers, he and Descole were dating, because while I may give him a wife, you cannot convince me that Descole has never dated or at least hooked up with another man.

Oh yeah so Nikolai’s supposed to be around his early 40s, same as Descole. Not sure if giving him that lighter streak made him look a bit older

Now here’s where we get to the potential plot of the story, which I honestly just don’t know what to do with. For these two, I want them to have had some sort of dramatic break up, but in terms of present day Nikolai’s chill with him (even if they haven’t seen each other in over 20 years). Oh and to be clear I’m going with the idea that Descole is in the city but with amnesia

Right now here’s the plot I’m working with: so years ago when the two were teenagers, they were exploring some mystery in the town (which also involved underground tunnels and rivers) and at some point when they were close to the reveal of it (or they had found it out) they were attacked by another person, and while it was two-on-one, the pair were in quite the struggle, as their opponent was stronger. (side note this may have been potentially the reason Nikolai develops the need for a cane) So they’re having their battle, and Descole sees an opening and attacks, and ends up killing their attacker. They don’t really know what to do about this so they just dump the body into one of the underground rivers near them and just elect to try and forget about it, even if it weighs on Descole, because while you can debate whether he’d regret killing in present day, he’s only a teenager at this point and I imagine the experience of actually killing someone would still be traumatizing to him. Anyways so a week later, things are going good, until the body ends up resurfacing on the, well, surface, and it becomes publicly known. Descole, feeling guilty and not wanting to ruin things for Nikolai should they be discovered, decides to leave town, thinking that he doesn’t deserve to stay there, and he never came back. Present day, Descole showed up but with amnesia (also he didn’t just walk into town one day, he was found on the shore unconscious) and Nikolai’s been taking care of him, trying to help him regain his memories. Meanwhile the present day problem is that this whole incident is coming back up again and Nikolai, hearing of Layton’s accomplishments (but likely not knowing his and Descole’s connection) calls him in to help with it

*oh yeah if you haven’t noticed, this backstory does contradict some of the things I headcanon for Des’s backstory. In this continuity I’m going with the idea that he was living in this town since he was left alone as a child. See, I’ve kind of got this thing where I try to keep my things as canon compliant as possible, and so if making a hypothetical continuation or retelling of events in a series, I will tend to throw my original headcanon for series of events out the window if I can come up with something better. Also I’m just indecisive and sometimes I come up with new ideas I like more. It’s never really bothered me but also I never really had to share it with people, so I guess just forewarning that I will retcon headcanons if it suits me

So what’s the mystery of the town? I’m not sure, but I’ve been thinking of it having something to do with memory loss, considering Des, but at the same time I’m also thinking that that could be caused by something else? Or is that reaching too far and I should just stick to it being related only to this story? And would he get his memories back, at least partially, or would nothing trigger his memories and alert Layton that something else is going on with his mind? Also going back to the actual town, this doesn’t really tie in to the whole thing about the town wearing masks, that seems like something you need to answer/address, or at least work into the mystery somehow

And if I’m being honest, I’m not sure about this story, because it’s essentially a murder mystery, but I feel like that’s more suited to an Ace Attorney game rather than a Layton game. And to be honest, I feel like that could make an interesting case for AA; a defendant with amnesia being tried for a crime they can’t remember, trying to prove they’re being framed only to find out they really were the murderer, except unlike other similar cases the defendant isn’t evil or manipulating things, it was an accident in self defense, so there’s basically no real villain to point to here. I feel like that’d be interesting, but would it make for a good Layton game?

Well anyways I think I’ve gotten off topic a bit, so just enjoy this character and ramblings about his story I suppose

[baoshan-sanren]

So thanks to your metas I've finally read SV in like 3 days and now I'm back with a question. Let's say if hypothetically SJ and YQY talked things out and by some miracle SJ wouldn't abuse LBH, do you think that LBH would fall in love with SJ as well given that he'd always thought his Shizun was beautiful, elegant and untouchable. Do you think his feelings would grow into something more with time? I'm living for your takes on blnovels. Thanks in advance

Idk if you can start with SJ not abusing LBH, I think you would have to start with Qiu Jianluo not abusing SJ, or maybe even earlier than that, before he was sold into the Qiu household by human traffickers. To me, there’s no conceivable way where the same SJ who walks away from the carnage at Qiu's Mansion with Wu Yanzi, and later enters the Cang Qiong Mountain, would turn out to be some type of kind and benevolent shizun on par with SY. We don’t get a lot of detailed descriptions of his time with Wu Yanzi, but there is no indication that he enters Cang Qiong Mountain with any intention to give up his festering resentments, regardless of whether YQY can give him a reasonable explanation for never returning or not. 

Look, SJ found himself in the shitty situation in Qiu household because he had been trying to protect YQY. That, on its own, shows he was not yet the heartless villain that the later events would forge him into. But this particular rant of his is also very telling:  

“Of course it’s all your fault! I blame you. We weren’t close with those newcomers, so what if we were stepped on a little? Why did you have to play hero! Are you afraid that people like us with such lowly lives can’t bear it?! If you hadn’t played hero, why would I have helped you? If I hadn’t helped you, how would I have provoked him, and how would that Qiu guy have ended up buying me?! If he hadn’t bought me, how would I have become like this?! Every two days I get beat up a little bit and every three days I get beat up a lot━he plays me like I’m a dog!”

SJ is very young here, but the difference between him and YQY is starkly obvious. MXTX makes use of this dynamic, this clash of personalities, in both SVSSS, MDZS, and TGCF. “Why did you have to play the hero” should be familiar line to readers of MDZS too, and despite some fan opinions, it’s just not... what the so called “good guy” in the narrative would think, let alone say out loud. (Btw, TGCF is the only one of MXTX���s novels in which we see this type of character actually grow and change with time). Right off the bat, we see this very young SJ as someone who only values (and is willing to protect) those of immediate importance to himself, while YQY, as the typical “hero” of the narrative, tries to protect everyone and ends up harming the person he cares about in the process. You will find these two personality types thrust in these types of situations in 90% of danmei (and wuxia/xianxia) stories for a reason. You are supposed to know that YQY will end the tortured hero and SJ will end the blackened villain, the only differences being other related plot lines and their eventual downfall/redemption. (Or in MDZS’s case, absolute stagnation, which flies in the face of typical development for someone like SJ and apparently, confuses a lot of readers as well).

The second part I think is important to mention about that little rant up there is that SJ is already a person who takes no responsibility for his actions. YQY had “acted the hero” so SJ was forced to act as well, therefore his action is YQY’s fault. He is very young at this point, so no one expects him to be a paradigm of magnanimity, but at the same time, he never grows and matures out of this way of thinking. So SJ who enters Cang Qiong Mountain is already proficient at holding resentments and shifting all the blame for his misfortunes to others. At that point, even if YQY had explained how his haste to cultivate quickly had resulted in a qi deviation and the subsequent confinement, there is no indication that SJ would have found him any less guilty for failing to return in a timely manner. (Don't forget that one of the last admonishments SJ gives to YQY before they part is to stop being so brash. YQY doesn’t listen, which results in qi deviation, which results in SJ being stuck in Qiu household for years. It’s unlikely that SJ would find YQY blameless).

However, if you go back further than all the misery and abuse SJ suffered at the hands of Qiu Jianluo and change things (perhaps the human traffickers sell him into a different, better household, etc) then his path would probably diverge too drastically to continue onto the trajectory towards the Cang Qiong Mountain. 

Basically, I see two paths where SJ does not end up the exact heartless scum villain he is in PIDW:

SJ escapes with YQY and they enter Cang Qiong Mountain together. From their earlier relationship, we can infer that SJ is prone to guilt-tripping YQY for his decisions, and seeing himself as the wronged party whenever the situation doesn’t go his way. Would YQY still end up the Sect Leader with SJ by his side? If YQY had never qi deviated and SJ had never started his cultivation so late, would there be a noticeable difference in their skills and strengths? If SJ was more powerful, would YQY not willingly cede the Sect Leader position? And if he didn’t do so, would SJ hold resentment for it? Would the same level of resentment between SJ and LQG still exist? 

YQY manages to go back for SJ before the slaughter at the Qiu Mansion. At that point, SJ had been suffering abuse by Qiu Jianluo for years. Would he blame YQY for not coming for him sooner? For the fact that YQY’s tardiness meant he started cultivating late and may never catch up? If SJ’s resentment is the same and YQY’s guilt is the same, would their relationship be any better? People seem to think that SJ would have held so much gratitude for YQY’s (attempted or otherwise) return that he would wipe the slate clean between them, but this is the same person who had blamed YQY’s heroics for his own situation in the first place. Does that seem like the kind of person who would just... feel so much gratitude to let everything else go? 

And since only that SJ, the one who had lived with Qiu Jianluo’s abuse, who had slaughtered all of Qiu Manor and was further twisted and warped by Wu Yanzi, since that SJ took LBH on as a disciple out of jealousy and resentment and spite, wouldn’t it make more sense that a less villainous SJ would not give LBH a second glance? Rather than being a better shizun, is it not more fitting that he would have allowed LBH to go where he is likely to have gone without SJ’s interference, which is Bai Zhan Peak? 

To me, any possible scenario where SJ (at the moment he is watching potential disciples digging holes) happens to be a better person, is a scenario in which LBH does not become his disciple. 

So no, I don’t see any possible scenario in which LBH falls in love with SJ. I believe that SJ was meant to be seen as flawed from the very beginning, from the moment he had blamed YQY for “playing the hero,” and I can’t imagine any twist of circumstances that would make him similar to the type of person (SY) that LBH would fall in love with. 

[roadtripzine]

Lucheek's Road Trip Journal (Page 1)

Gravity Falls: Road Trip is only $6 USD away from having raised a total of $400 for HOCHTX!!

Let's keep this convoy going- download the zine here and set your own donation amount! The zine's sale period will end on September 4th!

Before the sales period ends, I'll do some little journal pages like this for fun!

This was the first zine I ( @Lucheek ) have ever organized! I'll tell you a little bit about how the zine came to be in this first Journal Page, below the cut.

Highlight:

Even if you're not a contributor to this zine, I would love to see any work you create that takes the theme- the characters of Gravity Falls at locations around the world discovering the weird and wonderful.

...

If you create anything, feel free to tag me and I'll give it a look over and a reblog.

Inspired by @project-summerhome, another wonderful Gravity Falls fan work, I was thinking of ideas for a continuation of the series. (I enjoy fan-work!!)

The show itself had always reminded me of my experiences as a child, where in the summer my parents would take us on two week long road trips across the country and pack the entire trip with multiple stops a day at places akin the Mystery Shack. My family's tradition was while we were driving, we'd practice writing by writing journal entries in a shared notebook about what we did that day on vacation. (My mother is a teacher who was always eager to find ways to educate us, as well as a scrap-booker.) I'm so glad we did, because now I can look back at these journals and remember so much.

(My favorite journal entry is from my older brother during our trip to Roswell, New Mexico. My brother had a kind of... deadpan cynical X-Files flare going on. It's a hilarious read.)

I didn't want my hypothetical fan-work to seem too similar to the original premise, I wanted to shake things up enough to be distinct, because I wanted to honor that the story had ended, but keep the heart. Now, especially with the information from Journal 3's release- that the town Gravity Falls was a magnet for weirdness- it made the show even more rooted in it's locale. A traveling theme would help create a very distinct point of view, but stay connected in the weirdness, the kitsch, and the characters.

I planned a whole AU for "Road Trip"- with a villain, plot points, original side characters, and how the canon cast had aged. I put the idea on my twitter, and a friend linked me to the "Roadside America" website. It was hugely inspiring just to see what was out there.

However, I realized that it was all... very likely not something I would ever finish. (You may not know this if you don't follow my main account, but I have way too many projects already!) I was completely enamored with the concept though, now that I was seeing so many potential "weird" stories in the locales I found. I decided to make the zine as a way to sate my own apatite to tell stories of the characters beyond the Falls, and to inspire the creation of those stories in others. (My comic in the zine actually references plot points I had in the original complete AU!)

I also thought a for-charity fan-zine would be a good way to "practice" zine organization, something I'd be interested in doing before. As with many things, I rushed in, and put together the zine's logo and this blog just a few weeks after the original idea. I thought, since I was not a "big name" in the Gravity Falls fandom, it wouldn't get much attention. I was wrong! I was blown away by the response I got, and I continue to be blown away!!

Zine organization is tough, and I wouldn't have been able to get through this without the support of the contributors- who offered guidance and moral support every step of the way. Thank y'all so much. I had... quite the year of big stressful events in 2021, so having the forgiveness of my contributors was a huge relief.

Even if you're not a contributor to this zine, I would love to see any work you create that takes the theme- the characters of Gravity Falls at locations around the world discovering the weird and wonderful. I honestly am still so hyped for the potential this concept has. If you create anything, feel free to tag me and I'll give it a look over and a reblog.

(Have you heard of the Corn Palace? How about a Corn Palace made of Human Teeth?)

[itsclydebitches]

RWBY Recaps: Volume 8 “Divide”

Hello, everyone, and welcome back! It feels good to be doing some normal RWBY-ing in this strange world of ours. First, some supplementary materials.

Number One: In response to any (valid) questions along the lines of, “Hey Clyde, it’s now been a full year since Volume 7 was airing and you still haven’t answered my ask about it. Or the ones about Volume 6… what’s up with that?” I’ve created what I hope is an informative video detailing the problem:

(I assure you, the Earth, Wind & Fire was a happy accident during the screen recording.)

Needless to say, there’s a lot and I’ve known for some time now that I will LITERALLY never get through all my asks. Which doesn’t mean I don’t want you to send future thoughts in! Just know that as we head into Volume 8 territory I’ll most likely prioritize those, as well as any Volume 7 asks that aren’t woefully out of date. But I do want everyone to know that I read all the asks I receive, appreciate them immensely, and think too much about hypothetical answers, even if I don’t have time to actually write them out 💜

Number Two: There’s a bingo board this year!

Jury’s out on whether I’ll remember to update it, but at the very least this serves as a decent glimpse into my — and others’ — expectations going into this volume.

Number Three: I’ve collected a list of things I’ve heard about Volume 8 from what seem to be reputable sources. I did this because RT is developing a tendency to talk up certain points and then fail to deliver, either because something was taken out of a volume/moved to another, or because RT apparently has radically different ideas about what including something means. So this might be handy to keep on file and ask ourselves two months from now, “Did RT actually deliver on what they promised?”

Emphasis on Ruby’s leadership and how Summer’s death has impacted her

Insight into Ren and Nora’s flaws

May Merigold will supposedly have a larger part

More information about The Long Memory (Ozpin’s cane)

Theme of the volume is that you can respect someone but that doesn’t necessarily mean you agree with them

Very short timeline (supposedly just two days)

Yang in particular is very suspicious and distrustful

I was also going to include a list of all the threads that need to be continued/wrapped up, but honestly that would have taken too large a chunk off my life. Let’s just throw out the highlights:

Are we really going to have Qrow gunning for Ironwood?

Clover is dead regardless. Press ‘F’ to pay respects

Oscar bb you got shot please acknowledge this

Ozpin bb you got done dirty please acknowledge this

Penny is a Maiden now. I feel like the fandom has been sleeping on this (myself included)

Queer baiting, queer baiting… you’re on thin ice at this point, RWBY. Just skate on over to the queer snack bar before you fall straight into the lake.  

Ren spill your deep dark secret already and it had better be something more than just ‘Oh no Nora might someday die :( ’

Salem is here so how the actual fuck is the cast surviving this?

Will Ironwood likewise survive his descent into antagonism? Yes or please yes no?

I think that’s all the biggies. I strive to keep lists like this in mind while analyzing, but honestly RWBY has a hundred moving parts that are abandoned or changed or simply retconned at the drop of a hat. So an attempt will be made.

Number Four (last one I promise!): Normal disclaimers and reminders for Recaps apply:

Please don’t fill up the already full inbox with flames. It’s still 2020. No one has time for that nonsense.

There will absolutely be typos and wonky parts because I try to get these out the same day an episode premieres. I have now been working on this for ten hours, nearly straight, and have no more energy for edits. Apologies in advance and RIP to my Saturdays.

I reserve the right to use stupid GIFs and memes at my discretion.

I strive to keep my focus on recapping/analyzing but salt tends to worm its way in… If you’re a die-hard RWBY fan with little patience for criticism, let alone (at times) snarky criticism, please proceed with caution.

No wait I lied, this is the last thing:

Okay, got that out of my system LET’S DO THIS!

We start not with the episode itself but rather Rooster Teeth’s (RT’s) strange non-promotion of it. If you follow my blog you may have caught the post where I pointed out that there was nothing on RT’s website to suggest that one of their most popular shows—if not the most popular show—was premiering today. Nothing on the main page. Nothing on the RWBY page either, not unless you count the Volume 8 poster background (easily mistaken for the Volume 7 poster) and the trailer buried all the way down past Episodes, past Merch, in the Bonus Features section along with videos like Live From Remnant and the volume intros. RT… the promotion of your feature show is not a bonus. This should be front and center! Honest to god, five minutes before the episode dropped I was checking the website for a Volume 8 section, a countdown, anything that would tell me the episode was imminent without relying on fans on tumblr to keep me in the loop. We got nada, zilch. I’m not sure whether that speaks more to RT’s iffy management of the series or simply the website’s horrible design—RIP losing RWBY on Youtube—but I was surprised when I saw the episode a few minutes after 11:00am. At that point I honestly expected to hear about a dely.

So that’s the mood I entered the premiere in, but truly? We start off strong. Things take a pretty severe nosedive later on, we’ll get to that, but I was impressed with our beginning and that probably has a lot to do with the fact that we start with our villains.

We open on a Cinderella character, Cinder, and thus I’m immediately pleased that we’re getting something about her backstory after all this time. Seven years! She appeared in episode one, folks! To say we’re overdue is an understatement. There isn’t a whole lot to go on, just a younger Cinder sadly scrubbing the floor, poised under a spotlight. What we learn, or potentially learn, is based far more in cultural knowledge than this scene. We know Cinderella’s story, which includes the abusive family, the longing for more, the eventual escape, and thus we’re able to read all of that in this image, despite the image itself not telling us any of this overtly. That means we could be wrong in our interpretation, but if we’re not it’s an easy shorthand in an already packed story.

What I’m really impressed with is the sound bridge between the scrubbing and her nails on the back of Neo’s chair. Fantastic way to confirm that this is Cinder as well as showcasing just how far she’s come. The sound of her labor has been replaced with the sound of her power and given that Cinder’s power is stolen, tied to a grimm arm, the property of a genocidal maniac… that’s messed up. It’s a Cinderella story gone wrong.

So yeah, Cinder tells Neo to head straight into the creepy, grimm infested blood cloud to see Salem and Neo is like, ‘Uh… no thank you?’ lol.

RT does a good job this episode with her expressions, ensuring we know exactly what she’s thinking despite an unwillingness/inability to speak.

Poor Neo might be in too deep, but I quite like the overall atmosphere of this opening. Say what we will about Salem’s awful characterization, at least she has style. This woman knows how to make an entrance and, piggybacking off of the Apathy, RT knows how to infuse horror elements into their fantasy. The red and purple coloring of the clouds, spiked whale teeth peeking through, bright orange in the background looking like explosions… that’s all 👌 Including the intro card.

The only thing I want to gripe about is this:

I’m sorry, why does the whale grimm have landing pads? Or something like it?? The whale otherwise works because it’s poised between the natural and the fantasy synthetic. It looks like a real grimm whale on the outside, but is sporting a throne room, a control panel, and other unnatural elements on the inside. It’s a visual indicator of Salem’s ability to control and change grimm. Now though, the additions are wrong, infringing on the line between organic and tech, the line between what helps the grimm individually (giving monkeys wings) and what just helps Salem. Every other aspect of the whale straddles that line wonderfully, adding to the creep factor, like a grimm version of the Uncanny Valley: it’s not quite a whale anymore… but landing pads? That looks ridiculous. Why does Salem even have that? How many ships are her people feasibly using? Why are there five?

Take it away, please.

Cinder waltzes in like this is a normal home visit, but Neo has an appropriate ‘What the actual fuck?’ face going on.

They approach Salem on her throne where Cinder immediately kneels, greeting her with, “My queen.” I mentioned during my trailer breakdown that I think Cinder is lying her ass off here, and I still think that based on a line we’ll get in a minute, but now at least we have a sense of how she can pull this off. A woman who started out as a (presumed) servant is going to know how to mimic subservience, even if her heart isn’t in it. Salem is very good at playing the girl who will still kneel and scrub the floor for you. She will scrub the floor, she’ll do everything you want, she’ll just be plotting her own rise to power while she does it.

There’s quite a bit of interesting cinematography in this episode, not all of it good, and I think one of the mistakes is here when we get a closeup on Salem’s mouth as she greets Cinder. A closeup like that should be reserved for more significant dialogue—“Rosebud”—and yet we get this shot again when Cinder tells Emerald to be quiet. It’s awkward and coupled with the numerous eye closeups we got in the trailer, I think RT is playing a little fast and loose with the camera. Each shot should add something to the scene, not distract from it. If you don’t have a reason for including a technique like that then leave it be.

Back to the actual dialogue though. We knew that Salem knew Cinder was alive and now it seems that she just expected her to come back? I’m slightly lost. It feels like we’re missing something here. Cinder goes off to secure the lamp, fails, nearly dies, wanders on her own for months, and then randomly shows back up on Salem’s whale doorstep, yet Salem isn’t angry at all? Did she have faith that Cinder would return when she has something to offer? Did she just not care about Cinder, considering her return an unnecessary but otherwise welcome surprise? That would make the least sense given that she holds the key to accessing Beacon’s relic… but that circles right back around to why Salem is seemingly indifferent to Cinder’s comings and goings. Surely she can’t actually believe that Cinder is loyal?

“So I trust you wouldn’t return to me empty handed,” she says. Yeah, trust means nothing in this show, Salem, didn’t you watch Volumes 6 and 7? Again, I simply don’t know. I suppose I’ll just chalk it up to confidence, that if Cinder did bail Salem knew she could track her down again. Deciphering her motivations and beliefs is a lost cause when the show continually gives us so little.

The important thing now is that Cinder does indeed have an offering and you can see that Salem is somewhat surprised at being handed the relic.

Cinder, of course, takes credit for the victory and we’re given another wonderful shot of Neo. ‘YOU took it?’

Oh, Neo. Best get out while you still can.

Tyrian appears having obviously made his way to Salem’s ship sometime between her arrival and now. The exchange is pretty standard for this group. He insults Cinder for failing and needing this victory to make amends, talks about how any win against Ironwood says more about his lack of intelligence than her skill, and Cinder… doesn’t have a whole lot of comebacks, actually. I’d say Tyrian won that verbal spar, enhanced by a better use of the camera when we get his tail looming menacingly towards Cinder and Neo.

He goes on to say that Watts was a “necessary sacrifice” so, uh… I’m just going to toss out the ask I answered yesterday. Based on our intro I’d say Watts is still significant to the volume—hacking Penny is my guess—but by the end? He could be in trouble.

(As a side note: I plan to analyze the intro next week. It’s just easier when it comes first.)

Tyrian also calls Neo “little one” which I just found absolutely hilarious. In an on brand creepy manner, that is. Not that Neo couldn’t kick his ass, but there’s something wonderfully chilling about having the serial killer use an endearment towards a potential victim, one that comments on her size while he’s looming.

In contrast, Cinder refers to Neo as a “valuable asset” and we get our third mood of the episode.

Who’s going to start a Neo reaction image collection?

It’s true enough on the surface—who wouldn’t want an ally who can turn into anyone else?—but we’re still bumping up against question of why Salem needs this. She’s immortal! She has an endless army! Magic! This scene works well with a villain who needs a skillset like Neo’s to succeed, but Salem doesn’t. RT is doing a great job writing a story thus far, just not the story we’ve previously been given. This isn’t the story they set up.

This will come back up when we reach the RWBYJNOR group. Just wait.

Before that though, the gang’s all here as Emerald, Mercury, and Hazel show up, all in new outfits.

I think I like everything except for the weird Xs on Emerald’s jacket—it’s way too distracting and frankly makes an otherwise good look ugly—and the fact that she’s showing her midriff in Atlas. Hazel doesn’t have any sleeves! Oh my god, why doesn’t anyone dress for the weather in this show?

Frankly, I found their reunion to be kind of lackluster. I mean, there was nothing wrong with it. Emerald does sound briefly excited, she does run, and it’s in character for Cinder to cut her off… it just didn’t resonate with me emotionally. I thought after two volumes of thinking she’s dead, then working through the knowledge that she’s alive, that I would feel Emerald’s shock and relief more, but I didn’t. And I’m not entirely sure why. I don’t want to level any accusations at the voice acting because frankly I know next to nothing about that skill (and from what I’ve seen it’s usually praised in the fandom), but I will say that throughout the premiere I was noticing it more than I ever have before. The lack of emotion here and some awkward deliveries later, like when Yang goes, “Ruby, there is no way Ironwood will cooperate with us” and I immediately thought, “Wow, that came out stilted.” These observations stick with me because, as said, voice acting usually isn’t on my radar. It’s not something I’ve studied or had practice analyzing. If you’d never told me that Ren or Qrow’s VA changed then after a year hiatus I literally wouldn’t notice… but there’s something about this episode that didn’t sit right. Anyone else get that sense, or was it just me?

Regardless, the arrival of our other three villains really doesn’t amount to much, though I’m happy for all the Emerald and Mercury fans who get to see them in new outfits. The focus is still on Cinder as she delivers a line indicative of her true motivations: “That power will be mine.” Yeah, she’s not loyal to Salem, she’s just power hungry. Of course, Salem immediately takes note of this and raises her hand, in another nice use of the foreground, reminding her that she hasn’t given that order.

Cinder is shocked, angry even, but quickly covers it up with her “Without you I am nothing” line. If I caught it right I think she also calls Salem “Ma’am”? Hilarious. Again, skilled at playing the servant.

Also, before I forget, it’s worth noting that almost everything from our trailer appeared in this episode. Yeah, there are a few details like Nora attacking some tech and the group on their bikes, but on the whole we’ve already seen the majority of our promo material and will likely get most of the rest next week. It makes me both interested and nervous for what another twelve episodes are going to hold.

Salem opens her whale, or opens a portal type view in it, something that gives us a long-distance look at Atlas. I don’t know what exactly is going on here, but it’s pretty so I’ll take it.

She also delivers the frankly badass line, “Just because you’re more valuable to me than a pawn does not make you a player.”

She waves them all away with perfect ‘You mean nothing to me’ attitude and we sadly leave our villains.

Sad not because I don’t love my farm boy, but because things are about to get a whole lot messier.

Oscar has made his way to a camp of civilian survivors… all of whom are just hanging out in the supposedly deadly cold. Yeah, there’s a single fire, but at least four of them aren’t anywhere near it. Three of them also aren’t wearing gloves. What was that survival rate again?

A nice if gruff dude gives Oscar soup—water?—while showing off his… badger claws? I don’t know what kind of faunus he’s supposed to be, but he feels like the sort of two second, minor character who could easily become a meme lol.

Oscar thanks him (my polite son!) and hands the bowl back after a single sip. Which is impressive because I would have assumed the guy was giving me the whole bowl and just taken it. Hell, I’ve done that even when I didn’t assume it’s all for me. A Starbucks barista once approached me with a tray and a plate of samples, I knew I was supposed to take just one, yet for some reason my hand went to take the whole goddamn plate. He had to tell me off, then I was trying to explain that I didn’t actually want or think I should have eight shots of cappuccino all to myself, I don’t even like coffee, he clearly didn’t believe me… it was awkward. So good job, Oscar. You’re less awkward than me (though that’s not saying much).

Now a question, Oscar. Darling. Brilliant boy who has been through too much: why the fuck aren’t you talking to Ozpin? This will be A Thing later when he presents a lack of time to talk as justification for keeping more secrets (we’ll get to that too…) yet here is time! You’re just sitting there for who knows how long, with plenty of privacy to hide a supposedly one-sided conversation so the Mantle citizens don’t get weirded out or suspicious. Talk to Ozpin. Our headmaster gets two lines in this episode, utterly inconsequential lines like his airship scene, lines that feel like they exist to say, “See? He’s still included in the story!” even though he absolutely is not. Two volumes of mostly silence, a perfect setup to start the reconciliation process, but we’re going to put it off again?

Instead Ruby randomly and conveniently appears. I want to know how she found him. Oscar isn’t wearing a tracker. He clearly didn’t call them because he’s surprised when Ruby shows up. He fell alllllllll the way back down to Mantle and then wandered to a random part of the slums. You’re telling me they flew over the entire city—after beginning this search thinking he was in Atlas—and somehow managed to spot him from up in the air? C’mon. I would have rather had a beginning where Oscar makes his way back to the group himself, giving him and Ozpin time to hash things out.

“Need a lift?” Ruby says, eliminating that potential. Sigh.

Oscar immediately starts beating himself up when he gets onboard, saying that he “was stupid to think the General would listen.” Nah, you were stupid to buy into Ruby’s nonsensical confidence and for telling Ironwood he’s as bad as Salem. Sorry, Oscar, but everyone is written badly these days. I will, however, say that I am THRILLED at the group’s reaction to his return. Ruby says that she’s “just glad you’re alright.” Nora has a wonderfully tender moment where she hugs him gently rather than her usual glomp.

That? That added a year to my life. Everyone else seems relieved that he’s okay too, so kudos there. After four years of Oscar being an outsider in the group, this is one of the few moments that feel like he’s 100% accepted. Really glad to see it.

Now let’s see if it sticks after they learn Ozpin is back...

They fly to the Happy Huntresses’ base and I again feel like I’ve missed something crucial. When did they team up? I mean, RWBYJNOR was working directly under Ironwood up until the last hour and Robyn ran off to fight Tyrian/Clover in the last couple episodes. When did she have time to explain her (briefly) changed allegiance and why would the Happy Huntresses trust the group without that? Did Robyn share that Blake and Yang went behind Ironwood’s back for her? Do the Huntresses instinctively trust them because they’re now wanted by the military? How did they even run into each other?

Again, I think we would have been better served to have an episode before all this. Let Oscar make his way back and let the group struggle with the magnitude of their situation on the airship, before they find new allies. Transferring directly to, “They have help and a secret base and a plan in the works!” makes me feel like I missed the real premiere last week. You know, the one where Salem unexpectedly arrived and we left the group like this.

This is where we’ve ended up though. The group is cozy in this hideout, getting info from Joanna, and my only other thought is, “Why is she giving all this exposition?”  

Shouldn’t it be May? I mean, we were told that she was going to play more of a role this volume, a promise that’s pretty important imo given her status as a (so far off screen) trans character, so why not put her in the role of mediator between the Happy Huntresses and RWBYJNR? Giving her that setup as a leader among her people as well as lots of lines would be meaningful. A trans character just existing and being a part of this fight! May could obviously still fill that role—I’m well aware that we’re only one episode in—but it just seems like a missed opportunity to me. Out of all the undeveloped Happy Huntresses, our premiere focuses on the one who has the least importance to the fandom.

As said, Joanna talks a fair bit but what it basically boils down to is trying to get everyone to the crater below Atlas. It’s apparently not safe, but it’s warm, which is what matters right now.

So… let me get this straight. You want to gather everyone into a not safe crater, by leading them through an army of grimm, so that they can wait there in case someone moves the Staff, thus dropping an entire city on top of their heads? That’s the plan? Which admittedly isn’t Joanna’s fault. This is another instance of RWBYJNOR having information that a leader does not and they should really consider speaking up about it. But of course they don’t.

Also, how long does everyone have in regards to the cold? Shouldn’t there be dead civilians by now? The time it would take to find the Happy Huntresses, team up with them, get settled in the base, and find Oscar says that things should be pretty grim right now (pardon the pun), yet every non-aura user in this city seems content to just hang out in the snow. Either the cold is deadly enough to justify moving everyone to the crater, or it’s mild enough to let everyone survive this long, not both.

After hugs are given everyone obviously wants to know what happened to Oscar. His response?

“It’s a… long story. I get the feeling there’s been a few of those tonight.”

That’s a check for the bingo card! We’re halfway through the first episode and we’ve already got another secret. Yes, this is a secret. Oscar actively chooses not to tell anyone that Ozpin is back—something Ozpin himself comments on—and then skillfully draws attention away from himself with “I get the feeling there’s been a few of those tonight.” Indeed, all eyes go to Penny. Oscar’s plight is forgotten, which is what he wanted. His justification?

Ozpin: “You’re not going to tell them?”

Oscar: “You and I aren’t done talking yet.”

Along with this look.

Oscar no. There’s so much wrong with this I don’t even know where to begin. Let’s create a list.

As said, you had plenty of time to talk to Ozpin and chose not to. Miss me with this excuse.

You are now doing to your friends exactly what you and your friends did to Ironwood, which in turn is what Ozpin did to you! I can’t believe we’ve got Oscar critically side-eyeing him when they are still—still—repeating the behavior they drove Ozpin away for.

What is there to even talk about now? Oscar didn’t punch himself/Ozpin (lol) but he did steal Jinn’s name from Ozpin in the first place. You got what you wanted, drove him away, and have been lying and keeping secrets ever since. The only thing they should be talking about involves apologizing. Any further criticism—which is what Oscar’s expression and curt reply suggests—is beyond hypocritical.

Seriously, what needs to be discussed? There’s no reason not to tell the group unless Oscar wants to talk about whether they should tell them. There’s no good ending here...

Don’t you think it would be nice to know that Ozpin is back and you’ve got super magic powers while making plans to save the entire world?

This is all especially stupid given Oscar’s “Salem wants to divide us” reminder to Ruby in a moment. Oscar, you are doing the most to divide the group right now. By not forgiving Ozpin. By refusing to work with him. By keeping him secret from everyone else.

This is bad, friends, I worry for what the rest of the volume will bring…

The story is done with Ozpin for now so I guess I will be too. The group continues filling Oscar in and we get some shots of the base, including a rather prominent poster of what I assume are two Happy Huntresses. Did they die in battle perhaps?

It’s a little strange.

Oscar: “Where’s Qrow?”

Me: “Likely still making bad decisions.”

No one knows so they just drop it. Which I kind of get, only so much you can do to find him if he’s not out on the streets like Oscar, but it still reads as kind of iffy that two nieces look down at the ground for a hot second and then move on with their plans, content to leave Qrow to whatever fate befell him. In a minute we’ll see Yang firmly take Ren’s side regarding helping the people they can in Mantle, which frankly comes out of nowhere for her. I think an easy motivation would have been Qrow. Ruby wants to save the world, Yang wants to find and save their uncle, and that just happens to align with Ren’s desire to save the civilians who need immediate grimm and cold help. Don’t get me wrong, I like that there’s finally some division between the sisters, I just wish it hadn’t come about so abruptly. Ren had setup for standing up to Ruby. Yang did not.

But I’m getting a little ahead of myself. Joanna lists the grimm horde and no heat as the major threats to everyone. The group agrees.

Me: What about Salem?

Joanna says that this is all doubly dangerous because there’s “no more military protection.”

Me: Oh, so now you want the military?

This is all so disjointed. Even more-so when Joanna mentions that Ironwood has stopped all evacuations to Atlas, likely due to the “hard light shields” that are the only thing standing between Salem and the city. Thing is, the show never makes this connection, I just did it myself based on this scene and the one that comes later. The show presents Joanna’s line as a pure condemnation. Ironwood won’t let more evacuees in because… he’s just evil, I guess. Yet there is a justification here, namely that continuing the evacuations even while he’s stuck without Penny leaves him wide open to a Salem attack, the death of everyone currently safe, but that argument is never presented to the viewer. I don’t need people to agree with Ironwood’s perspective, I just wish that perspective was offered as an option. The show is very good about acting like RWBYJNOR’s opinion is the only justified opinion, or simply the only opinion at all.

After everything is laid out Weiss goes, “We’re never going to sleep again, I just know it.”

I could make a crack about the lack of continuity and how the group should be collapsing right now… but that was a funny line. It can stay.

What is far more of a problem is the fact that no one is talking about Salem. Okay, that’s a lie. They do talk about her, but in a roundabout way like her presence isn’t impacting every decision they make. That’s the real issue. They’re acting as if Salem isn’t here right now, like she’s off far away, maybe approaching slowly, and they’re arguing over how best to prep the world for her eventual attack. There’s no emotion here—let alone action—to reflect that the series’ Big Bad has arrived and is poised to murder them all. Literally what is this? Ruby is yelling about warning the world and, ignoring the continued question of why that’s a good thing when the world can do nothing to stop Salem and knowledge of her continually drives people to horrible acts, she has yet to acknowledge that… she’s the world? Ruby is the world in this conflict. She, Mantle, and Atlas. Salem is here for you all. Right now. You are, this instant, in the situation you want to warn others about, so why don’t you try to do something about it? Or at least acknowledge it. Ruby wants to warn the neighborhood about a potential fire while her house is actively ablaze, and the fire could have totally killed her by now but decided not to for… reasons.

“Ruby’s right,” Nora says. They have to tell the world so “they can prepare.” How? How are they supposed to prepare for this? The story cannot continue ignoring Salem’s immortality.

“Ruby’s right,” is all Blake says and I’m starting to thinks that’s why her character exists now, to agree with Ruby. It’s great that she’s getting a little distance from Yang, but man.

As Ruby asks whether Pietro can get Amity up and running despite it not being finished (called it) we start an incredibly odd sequence of flashforwards to their individual missions. I’ve seen a lot of praise for this already and though I agree that, in theory, it’s a good way to save time, I found the actual execution to be jarring. Upon thinking back through our timeline, it became clear they were flashforwards, but while watching I thought they might be flashbacks (especially since that’s more common).

Some of the shots, like Nora’s, just look awkward when you’ve got the exact expression and pose transplanted from one scene to another, like she’s a cardboard cutout behind a green screen. To say nothing of how the flashforwards ruin any suspense (I use that word loosely) in the conversation itself. If the question is, “Will they decide to go to the military compound?” then that question is answered when we see Ruby scoping out the compound, not when the group actually decides on the course of action.

It just made an already muddled scene worse for me, so I hope this trend doesn’t continue.

And of course, Amity can be used despite all the info last volume claiming that it wasn’t finished. Pietro suddenly acts like it is finished and the only thing standing in their way is Ironwood providing access. If that were the case, he would have used Amity weeks or days ago like he wanted to! When was it finished? Not after Watts commented on how incomplete it was. When did they get back the resources they needed from Robyn? It’s as ridiculous and retcon-y as I thought it would be.

Yang points out that Ironwood will never listen to them and Ruby counters that “he doesn’t have to.” They’ll just take the access from him. Because why wouldn’t they in a series where they’ve already stolen two airships? Stealing from the super evil military that Joanna wishes were helping them right now is just the group’s go-to plan nowadays.

Pietro isn’t sold on this plan though. He lists at least three obstacles they’d need to get through “and then… oh boy, I might need to think about this some more.” “And just to clarify,” Oscar says, “This is the easy option?” Um...no it’s not? We also know there’s an access point in Ironwood’s office so… why not go there instead? They really think the Academy is less guarded than the military base? There’s a potential justification here along the lines of, “After Neo and Cinder broke into his office Ironwood will have the place on high alert,” but unless I missed it the group doesn’t assume anything like that. They just listen to Pietro point out all the ways they can’t get into the military base and jump straight to that being the best option. It feels like a transparent way to create conflict for the group. We’ll just have them taking the most dangerous route despite an easy route being offered alongside it. Why bother mentioning his office at all? Just have the access in the military base. Boom, done.

It’s that conflict and the fact that Ruby tends to hear “You can’t” and digs in her heels. You can’t go to Atlas. I’ll just steal a ship then. You can’t defeat Salem. Watch me. You can’t break into this base. Guess what I’m doing! She’s dangerous in her fairy tale, meta-driven insistence that everything will turn out her way because she wants it to.

Speaking of, we finally—FINALLY—get someone challenging Ruby. Sort of. Not actually but it’s the closest we’ve ever gotten:

Yang: “Ruby, when we came here we said we’d follow your lead… but things haven’t exactly worked out.”

Now, there are two things to take away from this moment. The first is how utterly shocked Ruby and the others are. I mean, take a look at these expressions.

Ruby straight up can’t believe what she’s hearing. Weiss put her hand to her mouth like this is the most dramatic thing to ever happen to her. Oscar looks down in a ‘Yeah, I agree but please don’t look at me and make me admit that’ way. And Nora looks indifferent in the screenshot but animated she goes sort of stern, likely pissed that Yang would dare say that given her own agreement with Ruby. This not only reiterates that Yang’s challenge came out of nowhere—seriously, how did we move from following Ruby no matter what to this? Last volume she asked a single question along the lines of, ‘You sure?’ and when Ruby said ‘Yes’ Yang was entirely on board—but also demonstrates that no one has EVER said no to her before. Ruby is amazed that someone would challenge her. The act of challenging Ruby is, in and of itself, shocking. This group has gotten so used to following Ruby blindly that the teensiest little pushback is greeted with this.

Because it is teensy. This is the second takeaway: Yang barely challenges her and that challenge leads nowhere. She doesn’t accuse Ruby of anything, she doesn’t question her continued authority, she just broadly implies that things could be better. We followed you, now things are bad, take from that what you will. It’s incredibly mild as far as criticism goes, making the shock all the more, well, shocking, but it also amounts to—wait for it—nothing! Because Yang didn’t truly challenge Ruby’s leadership. She’s still in charge, she’s still calling the shots, and they’re still listening to her. We might have gotten some change if this division had been allowed to play out, but instead Jaune comes in with a, “Let’s go for both!” solution. It let’s both groups get what they want which, in turn, releases them from the need to grapple with whether they’ll listen to Ruby when she’s advocating for something they don’t agree with. We have now lost the chance to see whether, when push comes to shove, Ren and Yang will cave to Ruby’s will or stick by their own beliefs.

Don’t get me wrong, it’s more conflict than we’ve gotten in years, but that doesn’t mean it’s particularly compelling conflict. It’s good by RWBY’s standards, which doesn’t necessarily make it good. The actual issues at hand—Ruby’s dangerous arrogance, the group’s loyalty, her choices up until now—are just swept under the rug. For all the visuals we get insisting that there’s this great divide in the group… there’s really not. Not in any way that matters.

Also, Ruby is an idiot. Okay, that was mean, but she really is in this scene. She’s actually not an idiot overall because she was written as wonderfully intelligent in the early volumes, but now? Lately? She makes me want to bang my head against a wall.

“But that’s how Salem got this far,” she cries. “By dividing us!”

Ruby… oh my god, Ruby. No one should have to explain to you that dividing people means turning them against each other, not literally dividing your team to complete separate tasks. This girl honestly thought that because there was this teensy disagreement and that half the team would complete Plan A while she and the other half completed Plan B, both of which notably work towards the goal of, “Protect people from Salem,” that this was somehow what Salem wanted. That is was dangerous. Honestly, it’s a scary look at her view of leadership too: If everyone doesn’t 100% agree with me and do what I say, that’s an objectively bad thing that the grimm queen wants, right? Does Ruby think that unification means following a single person (her) without question or variation? That would explain a lot...

The fact that Oscar needs to explain the difference to her is not good. It really doesn’t say great things about this version of Ruby. Though he was comparing Ironwood to Salem last volume, so really they should all be wearing dunce hats.

Penny offers to take the relic directly to Salem in exchange for her leaving the kingdom alone. I honestly didn’t expect that. If anyone took that risk I would have put my money on Ozpin (but of course, during all this talk of the women he knows best, he’s kept quiet). Oscar is again the voice of wisdom, pointing out that they have no reassurance that Salem will keep her word. At least Penny is thinking about Salem as a threat though, so kudos for that. When this plan is shot down she volunteers to get Ruby past the military security instead and, uh, she’s a little intense about it.

I’m not entirely sure what is going on with Penny. She disagreed with Winter but then seemed to come around to her point of view, enough to help anyway. They had another (stupid) disagreement about the value of individual lives, so that helps to explain why she’s teaming up with RWBYJNOR (if you ignore that Ironwood is also trying to save individual lives...). Did watching Fria die shake her up? Is it being the Winter Maiden that’s not sitting right? Does Penny have lingering feelings about the framing that haven’t shown up until now? Her status as a ‘real girl’? We’ve got a lot of reasons that could definitely explain this sudden need to fight, but we’re not told which—if any of these—is the driving force.  

We’re then given a lot of little details. Someone points out that if Salem gets the staff and “create[s] anything else” then Atlas will fall (so yeah, let’s move the people underneath it). We still don’t know what exactly the Staff does because “creation” is kind of broad and “powering a city to float” doesn’t seem to sit within that category at all. Pietro gives Yang the keys to his lab so they can get the bikes. We see the group dividing in the flashforwards, something I do like, especially since the show has gone out of its way to break up most of the usual duos. Nora in particular is pissed at Ren for his choice.

“Oh, I’m saving Mantle because I actually believe we can do this.”

#yikes. Well, I did say I wanted a conflict other than ‘Oh no, one of us might die’ and it looks like I got it. But Nora, the only reason you can do this is because the plot is in your corner: none of you are collapsing from two major fights, you didn’t lose your aura so the cold isn’t a danger, the military is barely a threat all of a sudden, Salem is helpfully hanging out in her whale instead of killing you, and the story decided that Amity can function so long as you all are the ones who get to use it. That’s why you can do this. Ren, who follows in-world logic and doesn’t want to risk a whole kingdom’s worth of lives on a pipe dream, thinks differently, oddly enough.

As they leave though Penny gets a call from Ironwood. I know precisely what the fandom is going to say here: “This evil man is just trying to use Penny to open the vault!” Of course he is. He needs it open to save everyone he can, Penny included. Plus the concept of “using” her is a double-edged sword. What do we think the group is doing right now? Using her to get past the security. Penny’s power is a tool any way you slice it. Granted, Penny volunteers to help the group, but notably here Ruby speaks for her. Penny seems torn and Ruby takes the scroll away with, “She’s not going anywhere until you change your mind about Mantle.”

Sorry, Ruby, but coming from you that sounds less like a reassurance for Penny and more like just an order for Ironwood. Remember Harriet? We’ll stop attacking you provided you do what we want. Ruby has yet to learn about compromises, let alone acknowledge that she might be wrong. How about you let Penny decide where she goes, especially since by all logic she should have a lot of loyalty to Ironwood. She knew him before she ever met you. She’s worked with him since she was rebuild post-Volume 3. Despite what Penny has said, if the story would just let her think about his actions for a hot second—making her the protector of Mantle, sticking up for her after the framing, sending her to the party, teaming her up with Ruby, etc.—she might realize that the ‘He doesn’t want me to have friends’ and ‘He just treats me like a tool’ assumptions are just that, unfounded assumptions. But no, Ruby speaks for them both because Ironwood is evil now.

“If she makes it through our defenses,” Ironwood says, “everything that follows will be on your hands.”

That’s true! Kind of like how it’s own Qrow’s hands that Clover died. When you insist on making a bad situation worse you hold responsibility when the shit hits the fan. You know though that Salem won’t get through their defenses now, somehow, so that there’s no chance RWBYJNOR will be blamed for it. Or, by that point Ironwood will be so crazed that anything coming out of his mouth is dismissed, no matter how accurate it might be.

We then transfer to the Ace Ops who are, despite what the fandom theorized for many months, clearly upset about Clover. Also pissed. Which they have every right to be. Their friend and leader was killed. Imagine for a moment that Ruby had been murdered by Tyrian with an allies’ help. Exactly what do you think the group would do? Swallow it quietly and get over it? Ha.

I’ve already seen some speculation that Clover survived due to details like showing us the bandage and his room being listed as for a “Patient,” but he looks pretty dead to me.

He got gutted through the chest and left out in the snow for who knows how long. We saw him slip away. Qrow screamed over his dead body. He’s not breathing now. If RWBY suddenly claims he survived this, I’m calling BS.

Most of the other visuals we get here were already dropped in the trailer. Winter is pretty injured from her encounter with Cinder, likely permanently based on her new outfit. Ironwood had to replace his arm—and I am calling BS on that “Losing his arm is reflective of him losing his humanity” commentary from RT. Please go read up on a couple decades worth of ableism in media and then get back to me.

We get Ironwood’s line about the light shields and, notably, a whole lot of empathy. Regardless of what he might want Penny for, he still called her with compassion. He’s watching the Ace Ops mourn their friend. He’s talking about protecting his kingdom. The first thing he says to Winter is, “Thank you, Winter. I don’t know what I would do without you.” Ironwood has a heart! It’s always on display, which makes this scene utterly ridiculous.

I literally don’t know how to respond to this. The gunshot made me jump, both because it’s a gunshot and because, again, what the fuck? I know I said that next volume RT might just have Ironwood descend into full villainy, shooting whoever he pleases now that he’s shot Oscar, but I didn’t actually expect them to do it. Because he never should have shot Oscar in the first place! I wanted the story to let Oscar grapple with it a bit and then quietly backtrack, acknowledging it as the mistake it was. The concept that Ironwood, empathetic Ironwood, rational Ironwood, always thinks before he acts Ironwood, let’s kids yell at him Ironwood, tried to team up with Robyn Ironwood, did everything Ruby wanted Ironwood, won’t kill Watts after he destroyed his arm Ironwood would shoot this guy just to shut him up is absurd. It was absurd then, it’s absurd now.

That being said, there’s a possibility he didn’t actually shoot the council member, but rather just (“just”) gave a warning shot down the hallway. I say this because the reactions to this are pretty tame. Everyone looks startled, yeah, but after the initial shot there’s nothing that I would expect if there was now a guy bleeding out on the floor. The council woman doesn’t scream. Winter doesn’t seem overly shocked. No one is running to try and help him. Basically, if Ironwood had just killed a political figure in front of six witnesses, entirely unprovoked, I would expect a bit more of a reaction than this. This feels far more like a, “Damn he’s not joking around, letting off warning shots to get people to leave him alone” not “WOW, our general just killed someone in cold blood!”

What I really hate though—beyond just assassinating his character—is how many fans think my friends and I are delusional for calling it character assassination at all. I hopped onto the RWBY tag for five minutes this morning and was bombarded with posts about how Ironwood needs to be murdered horrifically, anyone who likes him is sick, the Ironwood stans are as bad as Adam stans, you’re an idiot if you want him redeemed… because apparently the concept of a story writing a character badly doesn’t compute. I’m not here to argue that Ironwood didn’t do these awful things (regardless of whether he actually killed the guy or not). I’m not here to argue that they’re not awful. I’m just here to say that we never should have gotten these scenes in the first place, or if we were going to get them, we deserved an actual descent into murder at the drop of a hat territory. I’ve already explained extensively on this blog how early Ironwood was not accurate foreshadowing for this, and Volume 7 certainly wasn’t setup, but it looks like the majority of fans aren’t interested in examining whether any of this adds up. Which makes my job, as someone trying to examine this series somewhat objectively—in as much as that’s possible for any single viewer—as well as simply enjoy it as a show, really hard. It’s bad enough when a story keeps taking the characters you love and villainizing them, and doing that badly, but then when you turn to the community and see them rallying around the idea that you’re awful for being dissatisfied—you’re the bootlicker, you’re the blind stan, you can’t see what’s ‘really’ going on here… that sucks. For those of you happy and satisfied with Ironwood’s arc, that’s great! I’ve also seen a lot of posts hyping up the complexity of his character now. There’s nothing wrong with enjoying what we’ve been given and I’d never want to imply that just because it’s not what I wanted it’s somehow wrong. I’m honestly thrilled that after a year of worry so many people have adored our premiere, including this scene. I just wish that I could say RWBY had given me something I didn’t want in a persuasive manner and that the fandom as a whole was a bit more welcoming of differing criticisms.

Not that I didn’t already know the RWBY fandom had its flaws, but still lol.

That’s basically it for our premiere. Nice note to end on, huh? Our final scene is of Salem using the lamp to set her bloodhound grimm on the city. Why doesn’t she just go herself? What was she planning to do here in Atlas in the first place, considering that getting the relic was a surprise? Who knows. Little about this holds together. But we do end with another awesome shot, so small favors.

It’s always strange concluding a recap, but even more-so when it’s a premiere, during a historical moment in the U.S., amidst all the nonsense that is 2020. So for now I’ll just conclude with three quick things:

The updated bingo board will be listed at the end of each recap, provided I don’t forget about it lol. Today I’m checking off tone (not nearly enough freaking out about Salem), the team keeping secrets (Oscar), and major plot point dropped (Amity is suddenly finished). I could also probably check off the cold not killing civilians and getting Amity up and running, but we’ll see if any changes with those.

I’m including my Ko-Fi link at the end of recaps now. Not with any expectations. Not with anything resembling pressure. I thought long and hard over whether to include it at all—let alone mention it here—because I love doing these and never want anyone to feel like it comes with strings attached. But life is a little harder and weirder than it was last year, so I figure it can’t hurt. Feel free to pass on by and I won’t be bringing it up past this note.

Far more importantly: thank you for reading! :D

(Bonus 4. Editing this was an absolute nightmare — damn you, tumblr!  — so I apologize if anything is super wonky when I finally post.)

See you next week! 💜

[Ko-Fi]

[aguecheek]

knocking politely on your door. do you have any twelfth night hot takes it's okay if not im just hyperfixating on it so intensely rn

bro listen to me i ALWAYS have twelfth night hot takes. BIG DISCLAIMER that all of this is completely subjective and absolutely not authoritatively true in any way shape or form. if you disagree with me at all, you’re well within your rights to do so, and I don’t feel the need to convince you otherwise. This is ONE POSSIBLE INTERPRETATION. What I’m talking abt in this post is one way I think I’d like to see the play interpreted and performed one day, because I think it adds a lot to the dynamics and gives the actors a ton of new things to explore in a way that could keep the play fresh, especially for actors or audiences who have potentially seen it done a bunch of times. Twelfth Night is one of Shakespeares most openly and explicitly lgbt plays, and I love thinking about new ways you could explore that. 

Anyway my hot take of the day is that Olivia is a lesbian experiencing comphet!! More below the cut.

I think that one of the reasons she’s spending so long mourning her father and brother is (yes, obviously she’s in mourning, I don’t mean to undermine that) at least partially because it’s a viable excuse to turn away suitors like Orsino. She spends all her time cooped up inside, turning away any men that come to the door, spending all her time instead with Maria, Malvolio, Feste, and Toby. Andrew only comes in later, and honestly I’m gonna talk about her relationship to a few of the aforementioned people and how it fits into this narrative in a hot sec. 

In my opinion, she latches onto Cesario because she perceives him as nonthreatening, sort of a “safe” man. Then, later in the show, when she mistakes Sebastian for Cesario and marries him, I feel as if it’s because she doesn’t actually love Cesario, and nor does she actually love Sebastian. So when she gets married, it feels very much like she’s marrying a Man, not a Person, you get me? 

Okay, now I wanna talk abt Toby, Maria, Andrew, Feste, and Malvolio. Toby and Andrew first! Toby is Olivia’s uncle, and he’s pretty invested in marrying her off to Andrew.  There are two different interpretations of that intention that could fit into this narrative. The first is the obvious route: homophobic toby. the second is, i think, a much more interesting one, which is the consideration that toby and Andrew may or may not have been having a thing. This is when you get into the possible potential story that Toby’s somehow figured out what his niece is dealing with and is trying to be helpful by taking her off the market but remaining with Andrew himself, giving all three of them that freedom to be in their proper relationships, while keeping up appearances. This also possibly explains one of the reasons he’s so willing to throw Malvolio under the bus for Olivia’s love. Because he knows she can’t ever accept his advances. Do i think he’s right for trying to set Olivia up with Andrew in this hypothetical subtextual narrative? No, not really, but do I get where he’s coming from? Yeah.

Feste is interesting, because he’s a clown. And clowns are ALWAYS interesting. Feste is, I think, slightly more interesting than most clowns. Because he actively influences the plot, and has relationships within the circle of characters. He and Olivia have this wonderful teasing relationship, where he sometimes seems almost to take on a mentor-like figure for her? I don’t know if anyone else picked up on that when reading it or watching it, but there are a couple moments that make me go Hm, that was kinda cute and uncle-y, yknow? Anyway, clowns always strike me as strange fourth-dimensional genderless beings, not bound by the confines of the fourth wall or the world of the story. Feste ESPECIALLY, though. Like touchstone’s just an asshole, Lear’s fool is mostly just fourth-wall breaking and goofy, and feste like��…..knows things. This is my really roundabout way of saying i think feste is olivia’s personal GSA LMAO

Maria I don’t have much to say about, like I think there could  be something between her and olivia, but that would just depend on the actors playing them. There are a few moments textually, but not so much that it’s a super easy read of things.

Now, Malvolio is Interesting. Because take this narrative and then put in the cross-gartered stocking scene. I’ve been trying to put my emotions about the way this could play out down for a really long time, and I’ve having a hard time doing it. I just think it would be really awful for both of them. If you took my quiz you probably know that I have a lot of sympathy for malvolio and that i think what was done to him was unforgivable. But i have a lot of sympathy for olivia too, and I just think that this scene could be very funny or very heartbreaking or both and I’d love to work with two incredibly experienced actors to see what they could do with it.

Ok ok ok now let me talk about olivia, viola, and malvolio, because they all have something super interesting in common—the ‘vol’ root, meaning ‘wishing.’ It shows up in words like benevolent, and in other characters like Benvolio in Romeo and Juliet. Twelfth Night is about a lot of things, but with the fact that three characters have the vol root? It’s interesting to think about. Olivia spends most of the play wishing for Cesario, Viola spends most of the play wishing for Orsino, and Malvolio… well, his name is a literal direct converse to Benvolio’s name, Malvolio means ill-wishing and benvolio means good-wishing, but that’s tangential. Malvolio still spends the play wishing. What he’s wishing for is up for debate, is he wishing for Olivia? For status? For love in general? Up to the actor. But I think the important point I’m trying to make here is that Viola is the only one who actually gets what she’s wishing for. Olivia marries someone, yes, but she doesn’t marry cesario. Cesario who is...wait for it...Viola. (Not including potential interpretations that present Viola as trans or nonbinary, I LOVE those interpretations and absolutely don’t mean to undermine them in any way with the point I’m making here. For the purposes of this narrative, I feel the need to present Viola as a woman or female-aligned.) Olivia spends the play wishing for a woman and then marries the closest male equivalent that’s available. If that isn’t a narrative that could easily be presented as a lesbian with comphet, I’ll eat my sword.

Final thing I wanted to point out is Olivia’s direct parallel to Antonio. She spends the play pining for Viola, while Antonio spends the play pining for Sebastian. I think it’s made pretty clear in 5.1 that Sebastian returns Antonio’s feelings, at least partially, which often gives me pause to wonder about what tha means for Olivia and Sebastian’s marriage. All i’m saying is that if olivia’s a lesbian, and sebastian’s with antonio, they’ve essentially accidentally achieved what toby hypothetically set out to do with sir andrew.

Basically, I guess all I’m saying is that theres a ton of meat there for actors to sink their teeth into, and I’d really love to put on a version of this show that follows this narrative when im in college, because i think there’s so much to explore with lesbian olivia that mostly isn’t all that touched on. When people think of lgbt themes in twelfth night, often their minds will leap to sebastian and antonio, or orsino and viola, and I absolutely know why, and to be honest I do the same. But i think theres a fuckton to be explored with lesbian olivia, and that it’s worth spending some time contemplating, even if you ultimately decide that this interpretation of the character is not your cup of tea.

[ulkoilla]

I found this meme via @bleachbleachbleach​ and decided to tag myself xD

Color coding in here is weird? But I’ll use it so that S is for search, A is something that I super-like and D is something that I don’t like that much. But I don’t really skip stories for tropes, it’s more about how the tropes are done that does it for me. This is mostly for my reader self’s opinion, but it’s not overly different from my write’s opinion.

Because I love to hear people’s comments on tropes, I’ll provide some of my own!

I usually view “fix it” as canon divergence, which is something I hugely go for. Because few canons have done everything Right, and I love to see the divergences. But the fics tagged as fix it… I don’t know, they often tend to focus heavily on the one (1) aspect they are trying to fix. Often it’s a pairing, which is why I personally don’t normally search for fix it.

I also lump arranged marriages and fake relationships together because the arranged marriage fic I search is often a fake relationship xD Because it makes sense. Two people have marry because they are told to and there are little other possibilities? “Listen, sir, I know you don’t want to marry me, and I don’t want to marry you, but it is what it is, so let’s marry for the sake of X and have our own lives. Let’s be mature about this and communicate, and I’m sure we’ll get along as much as we’ll have to.”

Sadly, these stories too often end up as love stories, but it was fun as long as lasted.

Ofc there are other takes on arranged marriage. If they are taken, I’m almost always pleasantly surprised. Which is how we get to Dark fic – one of the tropes I’ll go wild for. Often it is because “the good guys” in canon material are so good they make me a bit sick. Sometimes it is because the villains seem to better persons than I am, which make me a bit more sick. So it’s good to have some actual darkness in the story.

But if it gets too dark, angsty and hurt-ey, it loses it’s potency. Hurt/comfort is therefore a good thing to have, but I admit I don’t search for it as much I used to. It’s probably because many h/c stories lack other aspects, and I prefer long fic. A 100k story made purely to hurt and heal a character isn’t my cup of tea anymore. I’ve read them, I’ve enjoyed them, but after a while they start to seriously repeat, in this reader’s opinion.

Body swaps and gender swaps instead have always been a thing for me and I’m a bit disappointed these are rarely seen these days. I think there are two reasons on this: sensitivity towards for the readers who struggle with gender dysphoria, and that way these fics are too often turned to simple crack fic. Which is not to say that I dislike crack, but I think there is a lot of potential in body swap and gender swap, if approached seriously.

The last “S for Search” bunch for me is the AU’s. I don’t usually search a single type of AU, I just search an AU. Yes - also Soulmates AU! I’m not after romance and sex in my fic reading preferences, but I actually have taste for this because of how utterly, deliciously fucked up the soulmates systems tend to be.

Moving to a category down (from search to super-likes), there is unrequited love, with a bit of the same note than the Soulmates AU.

Missing scenes, time loops, gen fic and amnesia fics are in super-likes category mostly because it usually doesn’t occur for me to search these, but when encountered, I usually approach if the content is otherwise of interest for me. I usually pass, for example, missing sex scenes. Of these I especially like amnesia fics, but I usually view them primarily through other tropes (h/c, canon divergence etc ). They, too, have a lot potential but too often (to tastes of this reader, not objectively xD) amnesia is played as a tool to facilitate romance. For example, I can’t remember ever seeing a fic where the one with amnesia is forced to study the world around them more objectively, free from the previous biases towards the actions and objectives of their allies and enemies.

In the “B” category, “likes”, I put slow burn, crack and A/B/O. Slow burn is perhaps my favorite romance trope, probably because it usually comes with another plot attached, and usually I’m there for the other plot. In A/B/O, similarly, I go for the whole hypothetical sexuality things and how the writer shows it and its effects on the society.

“B” is also a category for neutral tropes or “tropes”, like Crack and Major character death. This is stuff I don’t have a bone to pick, it happens, I usually like it in a story if the other aspects are doing it for me.

Category C is now called “approach with some caution”. Many romance-related trophies go in here. Established relationships, pregnancies, and babies, especially. Again, I don’t dislike these elements - add a layer of fire and brimstone and I’m in! But when the story focuses on, say, a pregnancy, there is relatively little one can do with it. A pregnancy you wanted? Nice, congrats, end of the story or enter: a baby fic. An unwanted pregnancy? More room for drama, but it doesn’t make much of a story either if the characters don’t behave stupid or seriously Miscommunicate.

Which end up the least desired box, D, “approach with extreme caution” for being the perhaps weakest and most boring method to create tension. The D category has mostly vehicles to initiate sex and romance, which I’m not after, in case it wasn’t clear at this point of the post xD Ofc there is also e.g. humorous takes on sharing a bed, or other takes that won’t result in sex or cuddling after the initial awkwardness. Nothing wrong with the less typical takes, in this reader’s opinion!

Most of the persons I follow and may be interested are already tagged, so please help yourself if you feel like sorting!

[trainsinanime]

No Time To Die

Alright, now for the long post. This was a good movie. It was not a great movie, but I had fun. It was a competent action thriller, it did nothing to really annoy me, and it had lots of fun little moments. Let’s discuss, with some very intense spoilers.

First of all, I gotta give props to this movie for knowing its aesthetics, something that the first two Craig Bonds really struggled with. This one perfectly commits to its own brand of dirty and gritty that still feels like a heightened reality. There’s exotic locales but they’re generally shot from street level; there’s almost no luxury here. That might not be very Bond-like in any classic sense, but it works perfectly for this movie.

Beyond the aesthetics, the movie is big on themes and meaning to stuff, and it generally works well. As the last movie of its era (and wow do they make sure you know that), it’s full of callbacks to older Bonds, weirdly enough Lazenby and Dalton specifically, and it deals heavily with the concept of legacy. Bond gets a successor as 007, and a daughter, of all things. The question of “what’s life after Bond” is explored in a lot of detail. Seeing him in M’s office with a visitor badge is just delightful.

(And yes, giving him a five year old daughter sounds corny, and indeed it is. But it is the kind of corny that works in the heightened reality of this movie. I wouldn’t say they handled this sub-plot super well or interestingly, but it was perfectly okay, unlike all the weird “family” stuff in Spectre.)

That said, there are definitely limits to how far the themes and meaning really go. Yes, he does get his successors, but we don’t really explore what impact he has had on them. His daughter gets no character at all, and the new 007 grows warmer towards him, but she doesn’t seem to have been influenced by him in any meaningful way. I feel like that’s okay in the finished product, but this is also something that could have been even more interesting if they had been willing to go there and maybe flip fewer Land Rovers. Everybody likes a Land Rover being thrown on its roof, but after the fifth one (count them!), it gets a bit old.

This movie produces a very human Bond, which has been a core theme of the Craig era of course, but I would argue that this and Skyfall are the only ones that actually succeed. Bond is still not a particularly interesting character with a lot of depth, but this movie knows that, and instead pairs him constantly with colourful more interesting supporting characters that really make him shine. His relationships with Felix, Paloma, Q, Moneypenny, M, 007 and so on are all a lot of fun, and all very distinct and interesting.

In return, this is easily the weakest Bond villain ever by far, and I’m okay with that. This is a rare Bond movie that is really nota bout the villain or even about set pieces, but about character development, and it makes sense for the villain to take a step back here. That means the movie does have the classic Marvel problem of charismatic heroes (or here support characters) and utterly forgettable villains, but it’s a trade-off that the MCU keeps making for a reason.

If there is one part of the movie that really drags it down - a bit, it’s still perfectly okay - then it’s Madeleine.

At its core, this movie isn’t Bond, it’s Madeleine’s. The villain, in particular, does not actually have a relationship with Bond, despite a particularly weak attempt at a “we’re not so different you and I” thing at the last moment. The two men are only connected via Madeleine. Her relationship with the villain is meaningful and is the literal start of the movie; it’s what drives the plot. At the same time, her relationship with Bond is the emotional core of the movie, even if he does get quite a bit of subplots of his own.

I think that’s a great choice in theory. Compare this to Days of Future Past, an X-Men movie where technically Wolverine is the main character, but he’s really only here as a tour guide through other people’s arcs. This is the perfect way to make a Bond movie actually about something. Other Bond movies have tried similar things, of course, but this one takes it to a new level.

The problem is that Madeleine’s relationships with these two men don’t actually work that well. Her relationship with Bond was set up in Spectre, and even though I watched that movie, I cannot remember anything about it. What little I see here doesn’t really work for me. Yes, she’s pretty, he’s Bond, they’re in an Aston Martin on Italy, you know the rest, that’s good enough for an opening. But it doesn’t go beyond that. I don’t get the impression that there’s any actual intimacy here. They don’t seem to have anything in common, and they don’t seem interesting on screen together.

This is especially notable towards the end of the cold open, where Bond flies into a full-Connery style rage mode and goes essentially, “what did you do, you silly untrustworthy little girl”. Not gonna lie, I found that very uncomfortable. If that’s how close they are, then I fully support them breaking up. Their break-up definitely did not feel like the movie’s defining tragedy.

A good comparison might be Franka Potente in Bourne Identity 2. There’s a very similar setup in that movie’s opening, but it actually works, and I actually buy their relationship. This is not the case.

A related issue is that Madeleine’s main agency in this movie is choosing to lie to Bond. She does not tell him about her tragic backstory, or how that could have led to people shooting at him, or her daughter, or that she’s being blackmailed. Now, I think it’s perfectly valid for her to do so. If she doesn’t trust Bond enough to tell him this, that would be interesting and I’d definitely believe it. If she’s too traumatised, yeah, I get it (that seems to be what the movie is going for but it doesn’t really commit to this). But the movie doesn’t establish anything like that. She lies to him, well, just because, I guess.

Her relationship with the villain (yes, I do not remember his name, well spotted) is a similar waste of potential. The two don’t really talk. He is fascinated with her because… he didn’t kill her that one time, I guess. But this isn’t explored in any way. Meanwhile, her relationship with him is that he threatens her and her daughter, and she’d like for that to stop. For all the weight this relationship has been given at the start of the movie, it doesn’t actually end up going anywhere once they meet. And that’s particularly notable because she is a psychoanalyst; the opportunity for her to explore what makes him tick was right there.

I’m making this sound worse than it is. It’s still perfectly enjoyable. But I feel like there’s a hypothetical extended cut of this movie that’s three times better, where Maddy gets five minutes of screen time to just talk with the men, and where she actually makes choices about what she tells them and why.

The final issue is that the theming, already not super strong, breaks down at the end. The movie actually seems to think that there is a sort of meaningful parallel or connection between the villain and Bond, and even goes for a particular deep and meaningful plot point where Bond can’t be with his family because he’ll literally kill them if he touches them. You know, he’s a killer, he brings death to the ones he loves, it’s what passes for a metaphor in these parts. Except textually speaking, that’s just not the case. Felix was killed by someone who Felix dragged along, and the villain here was after Madeleine, not Bond. He is 100% a force for good here.

Is that a huge problem? Nah, but again, it’s something that could have been better.

The real main problem with the movie is something else: Throughout the film, it is clearly established that explosions don’t harm James Bond, they just disorient him. It starts at Vesper’s grave, then Felix’s ship gets sunk, then there’s the hand grenades in the video game section in the final bunker, and it’s always absolutely clear: Explosions may stun Bond, but they don’t actually hurt him. Only bullets can do that.

And then they go and kill him in a huge explosion. That’s just sloppy foreshadowing.

[strangertheory]

i’m sure this has been talked about somewhere but regarding the will has DID/created the upside down theories, what are people speculating the source of his powers to be? like was he experimented on at a young age, or did they come from lonnie/joyce, or what? this has probably been covered but i’m not sure where to find it

I can share with you the two hypothetical interpretations that I myself have considered for the source of characters’ powers in the Stranger Things universe. I don’t want to speak for any other fans that are discussing the possibility that Stranger Things is about a DID System because we all have our own unique thoughts on the way it might play out within the series, and I have yet to speak to a fan that is entirely enthusiastic about the second layer of hypotheticals that I’ve personally considered regarding where characters’ powers come from.

To me: Stranger Things is like an onion. This story has so many possible layers. And as we peel back the layers of what is going on in the story there are new possibilities revealed at every single layer.

I’m going to tell you about the two different layers that I’ve considered regarding where characters’ powers come from and how those powers manifest themselves within the story.

▪️ ▫️ ▪️ ▫️ ▪️ ▫️ ▪️ ▫️ ▪️

My “first layer” theory regarding where characters’ powers come from in Stranger Things is that they might be like the X-Men or the espers in Akira and have genetic mutations or evolutionary predispositions to developing their abilities. Agent Connie Frasier appears to be seeking to identify intelligent children in the Hawkins area when she asks Mr. Clarke if he has any students at Hawkins Middle that would be interested in an Indiana AV Club program. It’s implied that the Lab seeks out precocious children for their work because they believe there is a correlation between intelligence and psychic ability. Stranger Things basically offers us the “first layer” explanation that the events of the story are inspired by the historic experiments (and abuses) done by MKUltra on human subjects in the United States in its efforts to unlock the potential of the human mind and potentially control that power and wield it against perceived domestic and international threats. Within this “first layer” theory we can speculate that perhaps children with latent psychic abilities are more likely to learn to control their powers at an early age when they are pressured to do so under extreme circumstances. For El these extreme circumstances could be the abuse that she experienced at the Lab, assuming that she was there her entire life. For Will these extreme circumstances could be Lonnie’s abuse during his early childhood, or extreme circumstances that Will experienced elsewhere (perhaps also at a medical facility or at the Lab.) A person’s instinctive need to have control over their powers while responding to a threat (or after attempting to use those powers very intently and with deep focus within a perfectly calibrated lab environment?) could account for those powers being recognized, used, and trained.

Within the DID Theory the question of which circumstances were the origin-point of El’s powers becomes more vague. Was El created as an alter within the DID System while Will was being abused by Lonnie? Is the Lab and El’s backstory actually a distorted trauma memory that has been fictionalized by the DID System as a defense mechanism? Does the Lab exist as an explanation that the mind subconsciously invented in order to explain to itself the terrible things that happened in a way that it was willing to face and cope with? Or, perhaps, was there a point in time that El emerged from Will’s mind into the real-world and then  imprisoned by the lab and experimented on by Dr. Brenner? Do El’s memories of the Lab and Dr. Brenner reflect memories that she experienced as an alter in a DID System while she was still sharing the same body as Will, and Will’s consciousness was dissociating and depersonalizing a traumatic experience that would have otherwise been his own? Or are El’s experiences at the Lab completely separate from Will’s own story? 

Before I leap to my “second layer” theory, I’d like to comment that I strongly suspect that we will find out precisely how El and Will’s stories intersect in season 4. I believe that we will find out the way in which Will and El are connected to both Dr. Brenner and the Lab and each other. I look forward to seeing how the writers peel back that layer of the Stranger Things onion. I think it’ll be a huge plot twist and most fans will not see it coming.

Now. My “second layer” hypothetical regarding the way that characters’ powers may (or may not) work in Stranger Things is based on the circumstances that are often faced by alters in a DID System that are called "fictive alters.”

Fictive alters have a fictionalized sense of who they are that is not grounded in the rules that exist in our “real” world. Fictive alters may have superpowers. Sometimes they might be based on a character from a movie or a book or a song that the child was familiar with. The fictional aspects of their identities will be often very real and accessible to them when they are conscious within the internal worlds of the mind and inside the DID System. However, whenever a fictive alter is “fronting” (meaning: when they are conscious of the outside “real” world) then that fictive alter will no longer have superpowers: they will only have whatever abilities that they have learned as an ordinary human person in our world. Within the mind they have their superpowers, and in the real world when they are conscious they will not have superpowers because they are in an ordinary human body with the limitations of an ordinary human body.

Now: why am I summarizing information about fictives? Because one possible hypothetical scenario that I could see being the case with Stranger Things is that it is a story-within-a-story. Perhaps the story that we are watching, which has each of its episodes named as a “chapter,” is being written by a character within the Stranger Things universe. Perhaps this character is telling the story of “what happened.” Maybe what we see in Stranger Things is an imaginative representation of the experiences of alters in a DID System that is explained from their perspectives or explained by a friend retelling their story.

And if this is the case, then I propose a “second layer” hypothetical: perhaps there are no “real” superpowers within the Stranger Things universe at all, and the supernatural events of the series are either taking place within an internal world exclusively or some of the supernatural aspects of the series are supernatural because the character that is writing the story of “what happened” is embellishing the events with their own imagination as they write it. This could mean that although certain characters do have powers within the DID System, their powers only manifest when they are interacting inside internal worlds that exist exclusively within their mind. Or, as another possibility: perhaps their “powers” are merely imaginative explanations that the writer who is sharing “what happened” is granting these characters in order to explain circumstances that they artistically prefer to represent in a more fantastical way. (Ex. My mom threw a plate at me. vs My mom threw a plate at me with her mind.)

Am I effectively saying “many events in the show might simply be taking place within the mind of certain characters?” Yes. Sort of. Am I saying that all events in the show might only take place within the mind of certain characters? No. And even if they did: the “realness” of the story is still, to me, intact. Even if these events are taking place within internal worlds of a DID System the events that we are seeing in the story are based on real memories and experiences that the characters experienced at some point in the “real” world. In this “second layer” theory, I am proposing that characters’ real experiences and memories are being transformed into a creative and fantastical re-telling of “what happened.” This might be part of the mind’s way of coping with traumatic experiences.

I know that many of you reading this are probably thinking “No, no! That’s way too meta for my taste. We need more grounding in the story than creatively-embellished memories alone!” And I completely understand and respect that reaction. It would be quite a dramatic departure from what we currently understand as “true” in the series: even more than if we interpret the story as being about a DID System whose alters (and internal worlds) have supernaturally escaped the mind and become flesh and blood in our real world because characters have the ability to bring them to life.

Even when I do consider the more extreme “none of the powers are real” hypothetical I still think that many characters that we’ve grown to love would be introjects (or NPCs) based on figures that the DID System knows in their “real world.” I argue that those relationships would still have emotional weight and importance and meaning because they are based on real experiences and real feelings: but they might not manifest quite how we expect them to in future plot twists.

I understand if most fans visiting my blog prefer to take the “first layer” interpretation of the DID theory: that there are real psychic powers in the Stranger Things universe and that through supernatural means the alters from the DID System have escaped the mind and have become “real.”

But I wanted to address the “second layer” interpretation that I have considered because if we imagine that all the alters share not only one mind but also one body just like those who have DID in real life: how does that impact our interpretation of each of the events in the series when we re-watch it? To me, the incredible way that certain scenes in the series are transformed by this “second layer” theory’s lens make it worth contemplating this second layer as a possibility whether or not it’s actually what’s going on in the show. Many scenes in Stranger Things take on added depth if you watch them with this concept in mind. I think some scenes become much more powerful within the “nobody has 'real’ powers” interpretation, whether it’s what the creators of Stranger Things had in mind when writing the series or not.

Keep in mind that I entertain multiple hypotheticals at any given time, and sometimes my thoughts regarding what is happening in Stranger Things might appear to contradict each other. I like considering multiple possibilities all at once. I am not devoted to my interpretation that there are no “real” powers. I am equally charmed by the idea that there are real powers and that the alters have escaped the mind into the “real” world in Stranger Things.

Thank you for Asking!