#but in an actual narrative sense the ending was perfect

[robbyykeene]

Potentially unpopular opinion, but I love that Miguel was an asshole again in the second part of this season! It’s a reminder that he’s a character and not just Johnny’s main support. I mean Robby didn’t deserve it at all, but it makes sense that Miguel couldn’t help taking his anger out on him. And I love that Johnny was on the receiving end of it, because it feels like the tension between them just went away for no reason.

Sorry if I’m bothering you!

You’re never bothering me, and I completely agree! They so rarely give Miguel any narrative agency these days, and like Johnny all it does is reduce him as a character. Miguel is a whole, complicated, messy teenager. He isn’t a saint. He isn’t perfect. He makes mistakes and has ugly unfair feelings sometimes, like every single teenager does. And I love when this show actually lets him be like this, lets him be wrong, lets him be a little bit of a dick to the people he cares about who don’t deserve it. Lets him be a real person with actual human feelings. And then also lets him take accountability for what he does wrong, apologize, show how much he’s grown, that he is a good person and a good friend. I love it truly, and it feels like it’s something that in a lot of ways hasn’t really been granted to Miguel since he fell off that balcony.

[etoilesombre]

(referring to this poll)

Ok I'm here to make a strong case that Silver is definitely lying to Madi (and maybe himself!) in the finale, but that doesn't necessarily mean Flint is dead.

So here is what Silver actually says:

He resisted... at first. But then I told him what else I had heard about this place. I was told prominent families amongst London society made use of it. I was told the governor in Carolina made use of it. So I sent a man to find out if they'd used it to hide away one particular prisoner. He returned with news. Thomas Hamilton was there. He disbelieved me. He continued to resist. And corralling him took great effort. But the closer we got to Savannah, his resistance began to diminish. I couldn't say why. I wasn't expecting it. Perhaps he'd finally reached the limits of his physical ability to fight. Or perhaps as the promise of seeing Thomas got closer... he grew more comfortable letting go of this man he created in response to his loss. The man whose mind I had come to know so well... whose mind I'd in some ways incorporated into my own. It was a strange experience to see something from it... so unexpected. I choose to believe it... because it wasn't the man I had come to know at all... but one who existed beforehand... waking from a long... and terrible nightmare. Reorienting to the daylight... and the world as it existed before he first closed his eyes... letting the memory of the nightmare fade away.

Now that's a fucking lie right off the bat. "He resisted" oh, buddy, no... he didn't... and I think this is fairly textual. He just killed JOJI. He coulda took that gun from you in a heartbeat. If he had resisted, one of you would be dead. (Related: if Silver killed Flint, its because Flint made a choice to allow it, I will die on that hill.)

And then all the stuff about "Reorienting to daylight," and referring to his experiences as a pirate as "a long and terrible nightmare" this is SILVER'S understanding of the world, not Flint's. This is the conflict between them. Whatever happened if they went to Savannah, whatever Silver saw, it was NOT THAT. That was the POINT of the dragons speech. Those things are incompatible, and I cannot imagine that Thomas being alive would change Flint's mind about any of it. But SILVER thinks it would, because for him, Madi being alive would. For him it's personal, and he could never accept that for Flint it wasn't entirely personal as well.

I just don't think that Silver constructing this narrative about what happened which allows him to assuage some part of his guilt necessarily has any bearing on whether Flint got on a boat to Savannah. Either way, I think Flint made a decision that, without Silver by his side in this, he would accept defeat. And either way, it WAS a defeat. And Silver lied to Madi about it, and she knew.

Schrödinger's Flint Forever, perfect fucking tragedy regardless.

[anewp0tat0]

late as per usual, but this was April's theme back at the Black Butler Animo: (video)games!

I chose a game that not so many people know but still is my favorite game so far(I mean sure I haven't played so many but whatever) so yea, I'm gonna chose it as an AU. the dialogue is pretty weird cause I'm trying to cram exposition in there lol, but whatever, hope the art's fine atleast.

*ciel speaking*

*sebastian, then ciel speaking*

*ciel speaking*

[rawliverandgoronspice]

trying to assign instruments to gerudo characters for thralls' soundtrack. Nabooru is getting the sitar so far, as I think she's good at representing the gerudo side that's closer to the Wild Era in terms of long-term vision for gerudo prosperity, not to mention that it works great for a more laid-back character; though Iftaah could also get that aspect, even though her perspective is a little bit more desperate and a little less actually strategizing about diplomacy and commerce in the way that Nabooru's is... not sure I have nailed down the perfect instrument for her yet though? Maybe a duduk, for its plaintive quality and capacity for softness? But I don't know, I feel like there could be something better out there. Saeruk and flamenco guitar seem pretty great fit for the versatility of the instrument, both harsh and defiant, playful at times, but also extremely sad if needs be, and the fact that she represents more the "older" kind of gerudo works well with more hispanic/romany inspirations. And then there's Aveil, who I feel represent the best the connection of the gerudos to their land, and I'd love an instrument that really represents that. Still looking for that one.

There's a bunch of fun things for Ganondorf that can be done, but I think he'll get... bigger instruments, in general. And church organs are quite versatile too it turns out. :) I like the marimba from his first phase boss battle, but it's a little too... I don't know, I feel like it lacks the roundness and depth and imposing quality that we could get with other picks. But Ganondorf so far has about *eight billion* leitmotifs going on with what I have selected for him (him and Ganon's, as they are... not exactly separate entities in the story, but sort of, it's kind of weird), so it might be more a case of actual melody rather than instruments, or maybe on top of instruments that swap in and out depending on what we want to invoke...

Sorry, rambling, but I would really love to compensate for my lack of voice actors with a pretty meaningful stab at the soundtrack. I feel like I kind of have to honestly. ;;

[kayzero]

According to the American College of Physicians, medical school in Japan starts immediately after high school, rather than after having completed a bachelor’s program. Med school is still six years, two years of general studies then four years of medicine, after which two years of junior residency is required.

At 29, Shidou would be three years into his five years of surgical residency, which would actually make him a doctor(-in-training) of three years. (Or five, maybe—do you get your MD before or after junior residency?) I don’t know exactly what a resident is allowed to do in regards to surgery, but I imagine the answer is “whatever the attending surgeon lets you do”.

And if Shidou was as respectable and intelligent during residency as he is in Milgram, for three years, there’s a decent possibility that the surgeons know him as a reliable resident, one that they could give additional responsibilities to without much risk.

(As an aside, Shidou’s MVs have always confused me and I’ve never been 100% certain what his crime is supposed to be. My initial impression was that he, either as directed by hospital administration or of his own prerogative, convinced a lot of families of comatose or braindead patients to pull the plug, and only realized how horrible of a thing that is to do when his own family became comatose.

And then I go online and the prevailing theory is that he’s secretly harvesting organs? Like, let’s ignore the fact that he has to be a resident or the math doesn’t work out, and that residents are near-always supervised. How would he have gotten away with it even as a full-fledged surgeon? “Accidentally” make a mistake that kills the patient, wait for them to be brought down to the mortuary, and sneak down there with a cooler full of ice and slice them up? Every other murder in Milgram is grounded in reality, why would this one be so fucking ridiculous?)

thinking about shidou being 29 hes not even actually 30. even if he started college the moment he got out of high school at 18 hed only have been a doctor for.. (looks at how doctors also have to intern and go through extra training before being a full-fledged independant doctor)

a year

[hexhomos]

Dropping into the Mel convo to add that I don't see how the stans that erase/ignore the Things She Actually Does And Says and claim she was just helping Jayce out of the goodness of her heart can claim that anyone pointing out that she's a billionaire imperialist who manipulated him for her own gain is racist when THEY'RE the ones claiming she spent all of season 1 helping a nonblack man for. idk. reasons. Why is it "better" for her to be a Black woman who supported a man and asked for nothing in return...?

That reading of her makes everything with her mother make no sense. Is she like, just mad her mom is interfering with her ability to Support and Love Jayce? Lmao.

The reading that the text and the inherent set up of the politics of Piltover/Zaun supports is a complex woman with her own personal motivations, wanting to live up to the image of the family she believes shunned her on her own (nonviolent) terms, using the craft of social engineering (manipulation, etc) within the political and economic sphere rather than through weaponry and warfare. She starts to shift due to growing some actual attachment to Jayce, but it's not a perfect switch flip, and then her mother arriving forces Mel to contend with what she had actually been doing by "preparing" the city for her family.

That's infinitely more interesting than "oh she just helped this guy out of the kindness of her pure heart and because he's hot" and also has canonical basis that can be pointed to In The Text. That's a complicated, multifaceted character. The fanon Mel who just helped Jayce because she's a good person is a flat, tired trope.

And personally, I find people who "love" characters but have completely inaccurate readings of them to be far more annoying than people who "hate" characters but understand them perfectly. Love/hate is just a matter of taste. If someone can spend time honestly analyzing a character, that's more important than ten thousand blandly positive comments or tweeted out fanfictions dressed up as appreciation.

Paragraph #2 on this actually blindsided me like I could kiss you on the cheek (consensually) rn I've never been able to properly articulate WHY the take rankled me so much even when I tried to see it from a completely best-possible-intentions perspective. And this gets it. It's like you're not even flattening her into a girlboss caricature, it's worse, you're actually making her a 2D saccharine pastry servant with no will of her own except furthering some man's narrative as his mommy and denying the one massive, defining character conflict Mel has in the entire show: she is her mother's daughter! She IS a wolf in sheepskin!

When you have all this power, all this privilege and resources at your disposal from day 1, and you choose to look the other way - what happens then? Is this really being kinder than her mother? Is this being merciful, or just prolonging a sort of system-wide torture? It's absolutely relevant to how we see kid-Mel in that flashback from s1 too. Her idea of mercy and salvation from her mother's more violent ends is to enslave someone. She puts it in gentle terms and dresses it up fancily as a beneficial thing to both parties, but that is what she is proposing, in the context of the Noxus' hostile invasion of Ionia; they'd chain that princess and mold her in training until she became an useful asset in their service. Is that kindness? Is that good? I don't think Mel is able to answer to this even in her big age during season 1.

She certainly thinks it could be, when compared to death, but it's also a lie she tells herself while she ignores the rest of the world and the place she holds within it. Mel hates getting her hands dirty, because she's never /had/ to do that to enjoy the brilliant spoils of success; her mother loves her enough to make sure she could avoid the bloodshed. She carries the strategist's fallacy of thinking whole wars and countries can be managed from the privileged seats up top, out of touch with the blood and gristle. From up there, when people die you don't see it. You can mark the numbers off as necessary collateral damage in the path to Exponential Growth.

The core assumption that has always bothered me is defining this as 'kindness' without actually examining what it says about her character and the story. She was created that way for a reason. She was clothed in this way for a reason. The first fact we learn about Mel in the first episode she appears in is that she is the richest person in the entire city, and then there is a 10 year timeskip, and she hasn't truly done anything to address or prop up the undercity at all (they are ONE city too, under her own philosophy; Zaun is only a separate entity in the mouths of the zaunites who want freedom.) In that context, when her goal of statecraft clearly is to continue advancing Piltover as much as it can be advanced and do nothing about the screaming bleeding diseased dying hordes below the bowels of her capital - is that goodness? Is that really better than mother? I think Mel's arc is about finding out really quickly and really horrifically that it isn't, and that she played a big part in making a lot of things worse.

It's not that she failed at her job, it's quite the opposite. She succeeded in her mission so incredibly well her mother could swoop into power in a single day and then put another hundred necks to the blade, no sweat, and Mel has to reckon with what that says about her, and what she thought of herself. The power she has obviously always had and never sought to use as it Should have been used.

The idealistic future-path here is that now in full control of her Mother's armies, she's returning to Noxus to challenge the predatory system it perpetuates on a world scale, but only god knows what we'll see come January. And all of this is infinitely more interesting to me than docile fandomized ship accessory n.9999

[narrativelysignificantturtleduck]

the thing about zuko becoming firelord at the end of the show is that it's not like. a flaw of the writing that an inexperienced teenager takes on political leadership. it's important symbolically both in universe and to the show that zuko is the one to lead his country into its decolonial peaceful future bc he is the member of his family who broke the cycle and took a moral stance about the war. iroh is older and experienced, yes, and we know his moral stance on the war, but there's a lot of baggage there, what with the siege of ba sing se and being the brother of the old fire lord. it doesn't convey that same sense of hope for the future and change, either to the viewer or the in-universe fire nation. zuko's kinda politically perfect - he's still part of the ruling family so it's not perceived as foreign usurpation, but he's young and his banishment and rebelliousness make it believable that he'll actually make change in the nation. and since this is a kids show where these kids are the ones who will save the world when the adults failed it feels very full-circle to have him assume that role. will it be tough on him? you betcha! is that a valid topic to explore in post-canon fic? absolutely! was this the right choice, both in-universe and from a narrative perspective? also very much yes

[sliding-down-rainbows]

My thoughts on Striker as a PERFECT narrative foil for Blitzo

I've been watching a lot of reactions and reading through theories about HB given the new ep.

One thing I keep seeing is this surprise that Striker would work with the Nobles against Blitzo, considering how outspoken he was about hating royals.

To me, this makes perfect sense and I think they established this for the character early on. Striker hates Blitzo because Blitzo is exactly who Striker THOUGHT he was, and who he claims to be.

The thing is with Striker, I think a review I just watched of tbskyen got it spot on during his first appearance in Harvest Festival. "He doesn't seem to articulate an argument against the hierarchy so much as an argument against his place in it."

Striker, as much as he wants to be seen as a class hero, looks down on other imps and hellhounds, and his resentment is the HE should be above them. He says so to Blitzo.

"Blitzo, c'mon. You know the two of us are superior than most of our kind."

And he REPEATEDLY belittles other imps

"Don't worry, little one. You never stood a chance."

"Plus, you little things ain't worth the cleanup." ―Striker before locking Millie and Moxxie in the cellar

"I still think it’s embarrassing. You’re wasting a lot of potential relying on a weak little-" ―Striker about Moxxie

Calling Fizz a "worthless little pet"

I think I still missed some but you get the idea.

Striker think he and Blitzo are better than other imps, and don;t deserve to be subservient.

But here's the funny thing, BLITZO is the one who started and runs his own business, who became his own boss. And he uses that position to actually pull up other imps and hellhounds. Blitzo, for all of his jokes, fucking respects Moxxie's skill, he doesn't let anyone treat Loona like his pet. He uses his position as being seen as stronger than other imps to help others see their own worth. When Millie was speaking bad about herself:

Millie: We don't deserve this. We're just Wrathians, Blitzo. Muscle. It's all we're good for, all I'm good for. It's why you hired me. Any demon good at making a buck is welcome in Lust or Greed, but here? Demons like us ain't cut out for this. - Ghostfuckers flashback

And Blitzo's response?:

(Long paragraph of encouragment I won't copy all of... The point is, if we can't make it here then- then no one deserves to, right?

Blitzo saved them all from their lowest point and showed them their worth, that they deserve as much respect as anyone else.

And Striker, for all his fucking posturing, is working FOR a Goetia. So you have this guy, who thinks he's some class hero, better than other imps, but is stuck working for royalty. And along swings Blitzo, who is his own boss, and is just as strong if not stronger than him. Blitzo is EVERYTHING Striker wishes he was.

So then we come to Mastermind. Given the chance, Striker fucks over his own race/class in favour of royalty who probably offered a bribe. Blitzo, even to the very end, speaks of imps as a whole being mistreated.

No fucking wonder he became a class hero.

Striker has his "values" so long as they serve him directly, if he can get to the top of the food chain he'll make no effort to dismantle it or help bring anyone else up.

[respectthepetty]

Jack & Joker Restarted the Story!

The first and fifth episodes of Jack & Joker are twins.

Jack and Joke originally met in a bar in the first episode.

And five years later, they go back to that same bar.

And each time, Jack helps Joke escape his Terrible, Horrible, No Good, Very Bad Day.

(Peaceful Property's Suradech, is that you player?!)

Both times, Joke stole something. The first time was a wallet and the second was a necklace.

And in a sense, he stole both items to right a wrong. The wallet was Carbon's, who had been a jerk to Jack all night, and the necklace was never supposed to be stolen in the first place. But both of the items lead to Rose meeting Jack.

The boys have to fight off danger in both episodes.

But five years later, Joke actually helps Jack.

And instead of Joke going home to get yelled at and Jack's grandmother patching him up,

They patch each other up in episode five.

Yet Jack's ring still gets taken. He had to give it to Boss the first episode, and Hope took it from Joke in the fifth episode.

And of course Joke is still pulling a con in his signature red.

Oh, and Jack and Joke are still making heart-emoji eyes at each other in front of other people.

But all these similarities help us see the biggest difference because in the first episode, Jack was wearing a blue shirt, but once he entered the car and into the deal to pay off his parents' debt, he turned black, and Joke was in a white top but lit up red in the police car.

And at the end of the fifth episode, the boys are still in their colors, but Jack is just a teeny tiny bit brighter and the red is only a teeny tiny bit on Joke (his face).

And it's all because the first narrative arc is complete, which is why we had to go back to the very beginning (go back and look at their colors in the bar the first time they met).

They got to rewrite their history.

The first time they met, Joke got in a taxi without saying goodbye and left Jack with Rose, but they met again at the bank.

Now five years later, Joke wrote an entire letter saying goodbye to Jack, but the issue in the original timeline began because Joke made a similar choice. Joke should've never left Jack because Jack makes Joke better.

So even in their redo, fate lets them meet again. And it is fate because only destiny would let the boys meet again in a "couple's suite" with that room number.

The first episode ended with Jack never wanting to see Joke again, and the boys parted ways to live the next five years of their lives separately and miserable. Episode five allowed Jack and Joke to go back to that bar where it all began for them and get it right this time, so instead of Jack vowing to never forgive Joke like their original relationship ended, in episode five, after five years, Jack forgives Joke.

And the boys leave with each other because they are better, together.

They need each other for the next part of the narrative, so the show and destiny restarted their story at the perfect time to make sure they were a team to beat whatever is coming their way.

*chef's kiss*

[onwesterlywinds]

I've been thinking a lot again about the implications of the title of "viator" translating to "traveler" (prompted by Writing Things), and while there's been a lot of discussion about its relation/parallels to Azem, I feel like I've seen a lot less, if anything, on how "viator" plays into the overarching narrative of Garlean imperialism as well. For a relatively small detail, it's honestly one of the things I really think Endwalker did really well in its portrayal of Garlemald and Zenos.

Throughout XIV's history, we've been shown countless perspectives for why the Garleans invade and occupy other nations, whether it's [insert Nael's Bahamut tempering], Gaius' claims that peace can only come from a strong leader, the racism we see entrenched in Garlemald's colonial rule in Stormblood, etc. Endwalker, however, doubles down on the role of Corvos in Garlemald's history and elevates it to a founding narrative: the idea that the Garleans are justified in invading other nations because they themselves were driven from their own ancestral land thousands of years ago.* This is by no means the full scope of Garlean history (as just one example, Return to Ivalice posited that many other Garleans are likely descended from the technically-minded people of Goug), but it's still very consistent lore-wise and thematically for Endwalker to present the Garlean people's expulsion from Corvos as a creation myth for their empire, and the way this plays out in 6.0 MSQ lets us see the extent of the damage that that myth has done to those who have made it their worldview.

And introducing the term "viator" at the end of that arc as the name for the Empire's most loathed, reviled, and shunned class - the exile - ties into this idea so well: the greatest punishment the Garleans can give for one of their own is to make them a wanderer - to ensure that person is forever denied the home that they prize so highly in their society. This is a classic example of scapegoating, which has deep connections to empire throughout history and Western literature.

It's also such a fitting conclusion to Zenos' relationship with the Garlean Empire, too! One of the reasons I've loved Zenos as an antagonist since 4.0 is that despite treating the workings of imperialism as beneath him and irrelevant to his true desires ("Ala Mhigo and Doma and Garlemald be damned!"), he has a sense of entitlement to the peoples and lands of Ala Mhigo and Doma - and to you, the Warrior of Light! - that is extremely Garlean. The fact that (to paraphrase Lyse) he did all that just so he could feel something is what makes him such a perfect antagonist for Stormblood in my book. But to the Garlean people, that lack of care for his homeland - be it because (their own) people were tempered/killed from his actions, or the very sexy patricide/regicide, or that he caused the Empire itself to fall into ruin when he "should have" succeeded Varis - was to them the greatest crime he could commit. To put it another way, he probably would not have been named Zenos viator Galvus if he had first been Zenos zos Galvus.

And despite me forever lamenting the fact that the 5.X-era plot thread of Zenos having dreams about Amaurot never actually went anywhere, even that ties into his eventual role as viator: the only place with which he has ever had any real connection is gone forever.

Which makes a grave at the end of the known universe feel almost fitting in its tragedy.

(*On a serious note: While I do think the writers were intentional - and, mostly, thoughtful - around leveraging imperialist rhetoric, the fact that this particular framing is often used to justify an ongoing genocide is one of many reasons why I would be very happy for future Garlemald stories to stay on pause for the next few years.)

[srslylini]

The thing about Act 1 of season 2 is that, while in context with the rest of s2 it was bad, they actually did set up a good story and continued season 1 pretty amazingly.

There were still some problems but genuinely most of those problems stem from the rest of the Episodes not delivering and not on the first 3 setting stuff up.

Act 1 giving us the tree being sick? Really good idea, perfect set up even the connection between the hextech and it being sick? Nice as fuck. It's what they did with it (nothing) and how it didn't matter (at all) that destroys Act 1.

Caitlyn's set up was absolutely not bad, and a lot of people were praising it. It made sense for her character and it also didn't seem like they thought she was right. Not with all the other episodes after Act 1, though. Contrary to populer believe I like morally not so good (evil) characters if they make sense. Caitlyns narrative was promising to be interesting they just didn't do anything with it and acted like what she did in Act 1 was fine and excusable and alright. It wasn't. Had they actually done something with what they set up with her, well I wouldn't be standing here now.

They also promised this season being a Vi focused season and while I would say that Act 1 did actually give us a lot of Vi, in context with the other Acts... no. In hindsight there was no need to make her an Enforcer. "But the lore-" I'm gonna stop you right there, they also completely changed Viktors lore, and even Jinx' lore. So?

CaitVi was also something that, in Act 1, I was way more ready to get behind. I was a CaitVi shipper in season 1, I did like their dynamic and wanted it explored. I liked their kiss. I did not like what they did after that. Not Caitlyn hitting Vi and then getting to hit her again and never apologizing. I am a lesbian and here I am telling you: Everything that happened with them was weird.

Act 1 also gave us this genuine good found family between Isha, Sevika and Jinx. It was so moving and well done even in such short of a time (there is still stuff to criticize about it but the consensus is that it is awesome so yk I can overlook certain stuff). And then they turned around and wrote Sevika completely out of the story and killed the plot device that was Isha. When Isha should have mattered.

I didn't even originally dislike how many new characters they introduced because season 1 once mastered characters like this. Maddie seemed promising, until she wasn't. Loris seemed interesting and well thought out until he wasn't. Lest was such a good addition until she was just written out of the show completely. Don't even get me started on Steb.

Ambessas ploy in Act 1 was also something that I genuinely liked. Even Mel figuring out a mystery was good. Until they decided "well that doesn't matter anymore".

In Act 1 I did actually like the subtleties. I liked how Caitlyn saw the Violets and how, in episode 3 of s2 she saw one through her rifles lense (I have no idea what that is called, sue me haha) floating over Jinx. Because it was a nice add on and nothing that would destroy your viewing experience if not noticed, and it wasn't on the nose.

While a lot of directions they took, I was already questioning (the Smeech stuff took up way too much time) I was ready to give that a pass because it didn't destroy anything, yet.

Up until episode 4, it all seemed well enough, and while the prison scene also made me question stuff (that god damn Enforcer pants joke oh my god I will never let that go what was that) it wasn't anything too bad, yet.

The reason Act 1 doesn't work now is because of Act 2 and Act 3. Had Act 1 stood alone or had Act 2 and Act 3 delivered on Act 1, we wouldn't have that much of a problem. As it is the further Acts destroy what Act 1 seemed to carefully build up.

In the end what seemed purposefully and artistically done in Act 1 now seems like something the writers actually believe.

[neyafromfrance95]

sauron and galadriel must be a central dynamic in s3. for the sake of a good storytelling.

i want to argue that sauron and galadriel's push-pull dynamic needs to be continued in s3 for a narrative consistency with previous seasons and for their 3rd age dynamic to make sense.

sauron is obsessed with galadriel, and i believe it is for 3 major reasons:

subconsciously, sauron is predisposed to an urge to serve and worship, and he sees galadriel as a perfect leader, a perfect replacement for morgoth.

she refuses to be his queen, so she becomes his silmarils. not only does nenya represent galadriel for sauron, but it is subtextually underlined that sauron tries to recapture her being in his creations, it is the feeling of being bound to her that he covets. he never stops groping to see her, whether it is to possess or worship her doesn't matter as it means he never stops desperately desiring her.

she is his mirror. the only one he genuinely connects with. theirs is the most significant relationship for the both of them, but especially for sauron, as she is "the only one" for him. he disregards and discards everyone except for her. he binds her to power through nenya, and at some point, she binds him to the light when he is truly repentant for causing her darkness.

galadariel is devoted to sauron as well:

galadriel's priority till the end of the 3rd age is both ruling her kingdom *and* opposing sauron. she never stops fighting him. and we know that while at some point she closes her door on him, she herself wanders around his mind. who is to say they don't have the mind-palace power-plays till the very end?

he represents her darkness, her desire for power, her unreasomable ambitions, her pride and greed. she is tempted to indulge in all of this till she resists the one ring, thus she is tempted to let sauron give her her heart's greatest desires, even if deep down. only by actively choosing good every time can she be the lady of the light - the great leader actually worthy of following. so we have to see her internal battle, the darkness trying to pull her under but her fixing her gaze upon the light.

she simply loves him. yes, it's clear halbrand hasn't left yet by the way seeing him shatters her during the fight, but there is a reason to believe he never leaves at all. even after resisting the one ring and accepting that she has to leave the middle-earth, she recites the very first thing he told her "the tides of fate are flowing." and does so with sadness in her tone.

trop greatly emphasises sauron and galadriel's cosmic connection, it is destined for a reason. and they are bound to each other in several different ways.

it can be argued that s2's most significant parallel means to intertwine their beings and fates even tighter:

adar says that only blood can bind.

sauron gets stabbed by morgoth's crown and is "reborn" in the beginning of the season.

galadriel gets stabbed by morgoth's crown and is "reborn" in the end of the season.

nenya's foreshadowing of sauron obsessively calling galadriel comes true when sauron starts talking to galadriel in her mind.

all of this, down to the symbolism in design, basically establishes the red tread of fate binding sauron and galadriel.

[absolutebl]

We've had recent disappointments with the endings to series. For me, Last Twilight, Only Friends, and 23.5 stand out. While I loved the Sign to the end, there was that unexplained Tharn getting his freedom from Chalothorn, which made the very ending not quite perfect. And while I loved Century of Love all the way through, I know some folks were disappointed at the ending.

What are some QLs that you consider to have really strong endings?

OOOO what a great question!

10 BLs With the Strongest Endings

Some BLs had better endings than the rest of the show deserved, and some were saved by the ending, while still others built up to a good ending throughout. So I suspect it kinda depends on ones definition of strong. But here are mine (you'll never guess what's at the top? but...) it's in no particular order

Seven Days - no but ACTUALLY think about it. That ending is truly phenomenal. It ties everything together, gives hope for their relationship without being cheesy AND is crazy romantic, plus it brings the narrative full circle. That ending shot, the direction, the plot, the characters, and the story ALL tied in a neat little bow. It ends by indicating that something is starting for them, something familiar it's just now they are together. Fabulous.

Light On Me - on the beach, the whole friendship group, the kiss that mirrors their couple habit of cheek squiging? Peak YA BL. It reminded me of Make it Right, and that's no bad thing... for me.

Our Dating Sim - domestic boyfriends and then the pan over to all their couple photos. So exactly them.

To My Star - yeah, the sex scene, but remember this was when we finally realized that JiWoo not only liked him all along but actually desired him all along. The tsundere character breaking open for us to see the soft underbelly. Suddenly, all of his behavior made sense in retrospect. They used the final ultra romantic sex scene as a CHARACTER REVEAL. Fucking genius.

Semantic Error - the BOYFRIENDS of it all, the harken back to both the anime and the manga (with that spank bank file), the teasing and then the breaking of the forth wall. It was multiple cheeky punches out to the audience in a tiny stinger of a scene. Not to mention it had a kind of BL "ending fairy" thing that connected to them both being idols. Perfectly executed.

Love For Love's Sake - back in beach territory but wow. I mean this show starts with an ending. And it takes a lot for me to believe in the happiness of a parable about death and self worth. They managed it with this show. But that ending was killer.

My Beautiful Man - the ending made me reassess everything about the show, the story, and the characters. The ending made me love the show. It changed my mind. It BLEW my mind. I might have kinda lost my mind. In real time.

Unknown - there were struggles with this show and not everyone enjoyed the ending but I totally flipping loved it. FINALLY. You can't tell me that "you don't even know what I dream of" line doens't live in your head rent free.

Unintentional Love Story - not the ending scene so much as the whole final episode, it's so good. It brings the story together, we get multiple big realizations, sad baby, learning that baby was abused too, defending baby, baby defending himself. RINGS!

The Eighth Sense - so much peak boyfriend after so much angst. The casual language play and teasing, the stealing of the drink, just everything, and also how very very college it all is.

10 Others I just LOVE

Be Loved In House: I Do - ultra pasteurized cheese fest

Laws of Attraction - THE CAPED WEDDING OUTFITS

About Youth - rainbow kiss cheese fest

Long Time No See - BLOOD COVERED KISSES

Restart After Come Back Home - the pan around lens flare kiss and everything it MEANS

Bad Buddy - It was so CLEVER

DNA Says Love You - the claiming and then the tussle at the cafe? Gorgeous. Adorable. No notes.

Oh! Boarding House - a family gathering while the dads are holding hands behind the couch, adorable

Where Your Eyes Linger - that damn glow up

Tinted With You - perhaps... poly?

Wow... so few Thai BL. I guess this is Korea's strength in the BL sphere? Also more Japan than I expected and outsized rep for Taiwan. (I actually could have stuck a few more from Taiwan on here but they just get SO CHEESY.)

(source)

dated mid August 2024, not responsible for great endings after that date

[damian-lil-babybat]

DAMIAN WAYNE IS A GREEK TRAGEDY

When I say Damian al Ghul Wayne has almost all the ingredients of a classical Greek Tragedy, it is not an empty claim.

1. Tragic Hero: The hero facing his destiny with dignity. His virtuous character forms a bond with the audience, while his tragic flaw results in the audience’s fear for him, and his terrible punishment reveals a sense of pity.

Damian is the hero of his own story. In his mind, he was given a destiny, a standard to live up to. It came from his grandfather, as Hafid al Ghul, son of the Demon. It came from his mother, as her Alexander, with Talia deluding herself as Olympias. It came from his father, as the son of Batman.

He thought himself perfect on all those role, mighty ones they might be, heavy and overwhelming even, but he persevered in ways that should be impossible and ultimately achieved the pinnacle of a perfect heir for all of them.

2. Tragic Flaw: The human limitations of the hero or an error in judgement leading to the downfall. He attempts to escape from his destiny; however, he unknowingly runs toward it. His attempt leads him to his “damnation”.

But what he thought was perfection, was his downfall. For even if he was designed and raised to be perfect, those roles are fashioned by imperfect mortals. As the son of the Batman, he was all too much of a monster to even be treated as child, let alone a son. As the son of the Demon, he was too soft, kind, and all too human, to sit upon the al Ghul's immortal throne. As the great Alexander, he was deemed as a mere pawn, a victim of circumstance, and not a victor of his own fate.

He was set up for failure before his story even began.

3. Catastrophe: The horrible ending of the play: death, suicide, ruin etc. Upon the truth being revealed about Oedipus’ origin, Queen Jocasta commits suicide by hanging herself, Oedipus stabs his eyes with the pin on Jocasta’s dress and pleads to be exiled from the city.

And just like all tragedies, it ends up in death...so many deaths and sacrifices. Repeat and rinse, the cycle continues with each redeeming arc punctuated by his death or ruin.

And just like Sisyphus, one must imagine him to be happy. For how else could he endure these unending trials?

4. Central Belief of Destiny: The belief of the fact that the actions were preordained by the gods and the flaw was inevitable. Even though Oedipus attempts to flee from his preordained destiny, the belief in inevitable destiny becomes the reason for his destruction.

How else could he keep harking on to his destiny? Desperately clinging to it like a promise gold once he touched it like Midas' cursed hands? But no, everything he touches turns to dust, every height he scale would be pushed down reverting him back to his old bare bones of an unwanted worthless child from both side of his parents, even how much he tries to make things right. Every person or thing he treasured is another ammunition for plot purposes to make him more tragic than he already was.

Damian had tried to flee before, but fate always brings him back. Because Batman needs a Robin. But Bruce already has a Robin, doesn't he? Because Damian needs to be Robin? Just cause, who would he be then? When all those titles he earned has been discarded and thrashed in the light of Batman's justice?

And the only one title he could be proud of is always threatened to be taken away if he just as much cross an invisible line that keep on changing depending on whims of the doomed narrative.

5. The Chorus: Approximately twelve masked men, forming a specific group, make comments on the ongoing play by singing and dancing.

Due to its form of media, Damian has no twelve singing and dancing masked men. XD

BUT If I have a say on this, I'll give Damian his own set of bardic troupe narrating his life story, and maybe somehow DC writers would finally admit he was loved and wanted, and was never alone and actually have family, companions and friends along the way!

https://www.byarcadia.org/post/ancient-greek-tragedy-101-the-introduction

AND THAT IS WHY it makes more sense for writers to like and, or dare I say, even love Damian's character.

A lot of great fanfictioners in AO3 actually root for this little guy. So it's nice ✌️

[gabrielsbubblegumbitch]

this may be hard to answer because we don’t actually know the characters too well yet, but what do you think vox and val actually *love* about eachother? it seems like it’s more than just sex between them, and i’m curious to know what you think their relationship is like outside the toxic or sexual parts

Anon, to me it is not hard to answer at all, I think about it constantly 🩵❤️ of course all I write is based mostly on my headcanons and interpretations.

So... What Vox loves about Valentino? First and foremost, he makes him feel free. Vox is very self-conscious; he has a lot of internalized shame that he tries to cover with his grandiosity and fake smile. Valentino is unapologetically himself, and no matter how annoying it can be, Vox admires it. He's like the least judgmental person, and except for his temper tantrums, he's quite chill. Vox can't handle something? Val doesn't care; he still thinks his boyfriend is smart and will figure shit out eventually. Vox discovers he's into some weird, socially unacceptable kink? Great, they can try it. Vox rambles for hours about sharks? Good, he has a passion; Valentino likes people with passion, he will listen, he likes his voice anyway. Vox, who has spent his whole life crafting this perfect narrative about himself, cherishes the opportunity to feel comfortable enough with other people (a lot of these things apply also to his friendship with Velvette) to act like an absolute idiot around them.

Also, I think Valentino can be a really amazing boyfriend - he can be funny, charming, and mindful of the other person. That's his whole thing; he deals with desires, and that's why people get addicted to him so quickly. In most cases, it inevitably ends with him taking absolute control over the other person and becoming abusive. But Vox is his partner, so he gets just those nice bits because Valentino knows he wouldn't be able to put him down like he did with Angel. Not that he'd want to; he likes having a partner who's equal to him, whom he can break only if he allows him to do so (yes, my reading of them is very BDSM-ish, don't @ me). Valentino wants to be loved, he loves the idea of love, surrounds himself with hearts but at the same refuses to adjust to societal norms in the way that makes him unlovable; every person he ever loved (in his mind, his obsessive desire equals love) rejected him eventually after he revealed his true nature to them. But not Vox. Vox accepts him as broken as he is, and despite all his toxicity, Vox is reliable, he's the most stable part of Valentino's life. He has the patience to deal with his mood swings, he can always find the solution when Val messes something up, he's willing to accept all the attention Valentino wants to give him, and he supports his passions (ruining lives, making weird porn and abusing people).

Essentially, their love is largely about finally finding the other person who is as bad as you are, who accepts you no matter what and helps you grow (become an even worse person).

And some additional things:

Valentino really likes how smart Vox is. He himself is impulsive and acts instantly on his urges because violence is always an answer so he's kinda impressed when Vox presents him with some elaborate plots.

Vox loves Valentino's creativity, aesthetic, and attention to detail. He really likes nice things, but he lacks the ability to understand the nuance that is necessary for creating art.

They both enjoy each other's sense of humor.

Vox really likes that Valentino is kinda dumb? He can take care of him, and he likes taking care of people because it allows him to prove himself as The Best Boyfriend. He doesn't necessarily gets the idea of unconditional love, so the fact that he has an opportunity to earn it makes him feel more secure in their relationship. That's also why he loves spoling Valentino with gifts which is perfect because Valentino loves being spoiled.

Valentino likes being a little silly when he's with Vox. At work he can't manage people with his competence, so he does it with fear. But yelling and throwing people around is exhausting; he sometimes wants to bedazzle his gun while watching some trashy reality TV and bitching about his hard day at work. It's okay because Vox is also a little silly.

Valentino generally helps Vox live life more. He helped him come out of the closet (in my headcanon Vox for his whole life struggled with internalized biphobia); shows him that emotions other than anger are acceptable and don't mean weakness; even small things like always insisting on getting nice meals (while Vox could live his whole life on black coffee and rice) or decorating their apartment with fancy yet useless stuff.

They're both power-crazy maniacs, so the idea of being with someone who is widely desired by others and could destroy them if they wished is just so incredibly hot.

Vox | Valentino | What they hate about each other

If you liked these you should definitely check out my fic

[barrenclan]

I hope its okay to ask- what motivated you to keep the body count so low? With how often it was reinforced that this was a tragedy, that no one was safe, etc, I'm in an odd spot in which I think, logically, that it makes perfect sense that it happened this way (straight up think its brilliant, actually!! The thematic relevance of Pinepaw accepting the meaninglessness of his life being what stops Deepdark? Poetry, even) but not being able to reconcile that with being somewhat emotionally let down that only two minor characters died aside from Rainhaze (which was a given imo). This isnt a criticism, the more I digest it the more I enjoy it/I realize what a great choice it was - I actually wouldnt want any of it to change- I'm just very very curious about your thought process on this. You already spoke of Asphodel and Rainhaze, but how did you decide who and how many were going to die? Is it more about the *after*, the picking of the pieces after its over? I am so very excited for the picking of the pieces after its over, actually lol.

Real answer: I have far too much I want to explore thematically with nearly all of the characters, and the vast majority of it only happens if a lot of them remain alive.

When I wrote the ending of the comic, I actually struggled to find another character to kill in the attack besides Mallowstar and Rainhaze - like I said when talking about Cypressfoot's death. There were absolutely no more characters beyond her that I was willing to sacrifice, in terms of what they would give me narratively alive versus dead. This was never a story about everything ending in total destruction, anyways - it's a story about learning how to grow after grief and deal with random acts of misery that seem to leave nearly everything unchanged except for the enormous effects they have on you. You often don't get to choose what is going to happen to you and it's up to forces beyond your control if you and your loved ones live or die.

This is a worldview I hold, anyways - the future is entirely fluid and loose, and just as much as terrible things can happen, everything can turn out fine, too. Misery is not the natural state of the world (that's entropy, haha), and the other side of the coin is always possible. But once events happen, they are locked into an unchangeable permanence and you simply have no choice but to try and grapple with how they will affect your unknowable future. You have infinite branching paths, but you'll only follow one once you look behind you... not to get too much into personal philosophy.

Joke answer: SNIFFLE, SNIFFLE, SOB, I DON'T WANNA KILL MY LITTLE GUYS