#but it's something demonstrably true that I can point to so many instances of

[medicinemane]

Many things I get tired of

[mimicofmodes]

I saw a post going around about costube historians analyzing period film costumes for accuracy and it kind of got under my skin, so I'm sitting down and writing ... not exactly a response to it, but a discussion of the topic.

(It would be a direct response except that I don't actually watch costube, because quite frankly I can't watch/listen to people discuss things I already know. And I don't want to be like "they don't do X!" when maybe they really do X and I'm just not aware. But a lot of the complaints hit the same points that have been brought up against fashion historians for reviewing costumes for decades. I would also note that I have looked into specific videos where there were claims of terrible costuber behavior and watched them and found nothing.)

If you're going to analyze a period film's costuming in any way, you should still interact with the historical aspect to some degree. If you want to talk about the use of bold stripes in Tim Burton's Sleepy Hollow, for instance, and you don't mention that they were in style during the period the film appears to be set in, it's kind of weird.

Likewise, yes, if you're critiquing primarily from the angle of historical accuracy, you should also engage to at least some extent with the reasoning behind the inaccuracy. If a reviewer doesn't do so at all, then yes, their review is probably not as good as it could be.

People pointing out an inaccuracy (or many inaccuracies) are not inherently scolding the costume designer. Even if their tone is something other than sweet. Sometimes they are scolding other people involved in the production, like the director who mandated a particular costume, or just a general notion of TPTB. Usually they are divorcing the art from the artist, though, and just reviewing the costuming from their particular viewpoint and knowledge base for a likeminded audience.

Sometimes, yes, they are complaining directly about the costume designer. This is not a crime. Some costume designers (for instance, Sandy Powell) have an incredible grasp on fashion history and excellent taste when it comes to diverging from it. Others simply don't have as in-depth of an understanding and make design decisions sometimes based on stereotypes and myths. Some costume designers will explain their decisions in interviews or blog posts and make it clear that they didn't make a truly informed decision about accuracy because they didn't know enough about the period. It's important for both sides of the equation to stop painting the other with too broad of a brush ("ivory-tower elitists who have no idea of a production's needs or budget" vs. "costumers who know how to sew but not how to do historical research").

If you're allowed to complain about a writer or a director or an actor doing something you don't like in a movie, you're also allowed to complain about a costume designer. You're allowed to have aesthetic preferences, and even to talk about them without hedging every five seconds to make it clear that others can disagree, although some of this is beneficial with any critique. Why would it be otherwise?

This seems really obvious to me, but maybe it's not? But "they costumed that female actor in an anachronistically sexy way because sex sells" is a feminist issue. The assumption that women's bodies should be sites of less-clothed allure while men's should attract by being more covered (with more layers than in modern dress, with cravats, etc.) is sexist. Complaints about female characters being costumed inaccurately are often being made along these lines, and pointing out that the producers insisted on it or something does not mean it's suddenly unproblematic that every female character deemed fuckable has to have low necklines at all times and modern shiny hair.

It's true that fiction isn't non-fiction and shouldn't be taken that way, but it's also demonstrably true that viewers do take cliches in film aesthetics as accurate when they see them enough times. People cite Scarlett O'Hara's 18" waist. They believe there were no bright colors before the 1920s and that women couldn't have put their hair up unless they were wealthy. These beliefs have consequences when it comes to public perceptions of history, and if films perpetuate them it's perfectly reasonable to point out that they support ideas about e.g. gender roles that trads express today.

It's also simply funny when a film's hair or costuming or makeup is supposed to evoke a lack of artifice but actually requires quite a bit of artifice because people don't naturally have perfect hair and skin and so on.

If you don't like reviews of period films that focus on the accuracy of the costuming, maybe ... don't watch/read reviews by fashion historians and historical costumers? At least unless they're vetted for you by someone who doesn't mind that?

[religion-is-a-mental-illness]

Why would a battle fought 54 years ago provide key insight on what Hamas' strategy is today?

Asymmetric Warfare. It's a term that most people don't really understand. Before I did this, I was a United States Army Green Beret and I did a couple of combat tours in Iraq. And needless to say, asymmetric warfare was kind of our thing.

So, in practical terms, it is a type of war between belligerents whose relative military power, strategy or tactics differ significantly. And as a result of this, the weaker opponent will use unconventional tactics in order to maximize one's strengths against a stronger opponent's weaknesses or vulnerabilities.

For instance, an Insurgent force does not have the freedom of movement or firepower necessary to attack a forward operating base or a heavily armed column. So instead, they focus on softer logistical targets. They may choose to use a remotely activated roadside bomb instead of engaging in direct fire.

In many situations, the weaker adversary has fewer personnel and resources. And so, a significant part of their strategy is to preserve those limited resources and use the munitions that they have to the greatest possible advantage.

But here's the thing. To pull this off long term, you generally need a consistent means of supply combined with enough territory to hit, run and then hide. And Hamas doesn't have these things, at least not in sufficient supply to win against the IDF.

So, what's their strategy? What can Hamas leverage that will allow them to conduct offensive operations against a much stronger opponent and then avoid getting destroyed by the IDF's vastly superior military capability?

And the answer to that question as horrific, as it is, is civilian casualties, but probably not the ones you're thinking.

To understand this, let's discuss that example 54 years ago. The Tet Offensive in the Vietnam War virtually wiped out the Viet Kong. It was by every objective measure, a complete tactical failure. But strategically, it was invaluable. Because while achieving none of its military objectives, the Tet Offensive shattered Americans' perspective on the situation on the ground.

Opponents of the war were able to effectively use the offensive as a demonstration of the futility of American involvement. Hollywood, Academia and many in the mainstream media went to work convincing the American people that the war couldn't be won. Or perhaps just shouldn't even be fought. And in a representative government, when the electorate decides that a war is lost, it is, regardless of the situation on the ground.

Now, understand something. I'm not making an argument for the pros or cons of fighting the Vietnam War. I'm merely illustrating a point about modern Asymmetric Warfare. The lesson of the Tet Offensive is when fighting the West, you don't defeat their military. You win their electorate. And the way to do that is through the institutions which shape culture in the West, namely Hollywood, the Media and Academia.

If Hamas had decided to engage in a conventional military attack directed at only legitimate military targets, the IDF would have effectively destroyed their war fighting capability within days, and Hamas knows it. So, they engaged in asymmetric strategy.

Once we understand this, their actions on October 7th, as horrific as they are, begin to make more sense. Hamas didn't just target civilians because they were easy targets or because they despise Jews, although both of those things are true. The attack and the subsequent taking of hostages was actually designed to elicit a major response from the IDF.

But why? Well, maybe it's because to achieve their strategic objectives, Hamas needs civilian casualties. And more specifically they need Palestinian civilian casualties. And this is why.

The two entities in this conflict that lose the most from a greater peace agreement in the Middle East are Iran and the terrorist organizations they support. Upsetting this process requires much more than the random launching of rockets into Israel or strikes against legitimate military targets. The IDF is more than capable of handling such incursions, and the Israeli people have become all too accustomed to weathering such attacks without demanding an overwhelming military response. something more significant was required.

And October 7th created the kind of conditions that demanded a significant and sustained response. They needed something so obscene that Israel would have no choice but to hit back hard.

And this is where the second component of Hamas' strategy plays out. How to get Palestinian casualties. Any government actually worried about civilian casualties dedicates resources to evacuating their own civilians from hostile areas and attempts to separate the civilian population from legitimate military targets. So what conclusion should we come to when a governing body decides to do the exact opposite?

In this asymmetric environment, Hamas is not only incentivized to kill Israeli civilians, they're incentivized to maximize their own civilian casualties in the short run in order to elicit Western intervention on their behalf. As easy as it might be to explain Hamas's strategy away as nothing but mindless bloodlust, it is actually more sinister than that.

Hamas is responding to the incentive structures certain elements within the West have created. Hamas understand that the real Battlefield is not in Gaza but in the streets, University halls and newsrooms of the West. And so that is their target. And while a ceasefire seems like a humanitarian response to the tragic death of civilians, leaving Hamas intact as an operational and governing body will ultimately just reinforce that the perverse incentive structure remains the same.

And that while the West may claim to "not negotiate with terrorists," they always seem to force Israel to as soon as it becomes politically inconvenient for them.

So here's the hard reality. If you actually want to achieve anything resembling a lasting peace in this part of the world, you're never going to achieve it by creating conditions where terrorists are incentivized to hurt both the civilians of their enemies, and their own in order to achieve their political objectives.

==

This, of course, was completely obvious from the moment of the al-Ahli Hospital hoax, where Western outlets worked overtime to spread Hamas propaganda without regard for truth, all the way through to the present-day "protests" which are anything but organic or grass-roots.

[okayto]

Biannual Research Instruction Reflections

My research post is going around again (RIP my activity page), which always brings a bunch of fresh comments on a variety of related topics, and I always wish I could add some little addendums that people should keep in mind:

The original point of the post is that you shouldn't automatically assume a mid-high research familiarity with anyone, even people who have previously completed university degrees (outside of specifically-demonstrated proficiency as an admissions requirement or something). The post was particularly sparked because the master's program that student was in, at the time, did not include a library orientation that even showed students what databases were or the program-specific guide, and I hated that the program thus relied on students to realize they should use the library and just intuit how to find everything.This has since changed.

It was also sparked because, as seen in the dialog, the student did not demonstrate even basic computer-search semi-critical thinking skills like "maybe I should try rephrasing my search."

Yes, it is fairly common AFAIK in the US for first-year college/university students (or students in beginning-level college courses) to get some sort of library or research instruction. To my knowledge it's also pretty common in certain disciplines to have a dedicated research methods-type course at a higher undergrad level before graduation.

It's a reasonable assumption that students in a master's program have had information literacy instruction (or a full research class) before since everyone had at least one prior college degree, but I strongly believe all programs need, at a minimum, a basic library introduction (even a virtual tutorial, which is what this program now does) so they know/are reminded of what resources exist.

Pretty sure it's not uncommon to get some sort of instruction in high school, and even basic skills earlier than that. IDK what's widespread at pre-college levels, guys, I was homeschooled. But educational standards vary from state to state, and education is, if you haven't noticed a notoriously politically-influenced profession (in that often people spouting opinions and making rules are not educators).

That said, I have personally seen many instances where students did get a very good introduction, tutorial, or in-depth lessons on how to research, and they didn't pay attention or take it seriously. This is not a problem that lies solely with people designing educational courses or standards. The problem of equating "I can google for basic questions on a phone" with "therefore it's easy to look for academic and/or specialized publications and research in subscription databases or other less-public locations" is something students also do all the time.

Research is also a skill, meaning that if you don't use or practice it, you'll likely lose some of that knowledge. This isn't a judging statement; it just means if it's been a while since you had to use those skills, even if you knew stuff before, you might need some help to refresh that knowledge.

This was true when I wrote the post and it's true now: reaching out for help is a good option.

My research and library tips tags would probably also appeal if you like that post.

[principiumindividuationis777]

Little Things That Attract a Man

If you are not into men, or not interested in attracting one, that is totally cool, but I see so many "I need a man so bad" blogs, that I might as well point out what attracts straight men, being one myself.

First, though, make sure he is the right man- it's better to be alone than with a man who will betray you (the same goes for friendship with other women, and human relationships generally).

If you have your sights set on a guy, though, and maybe he sees you as a friend, a coworker, or just as an acquaintance, maybe in a place in which there is not much physical contact (e.g. a workplace), the most attractive yet innocent thing is "doe eyes", bending the head down (that way, even if he is shorter, you still look up to him with Bambi eyes). This conveys sweetness, caring and admiration all at once, and makes a man feel needed. Experienced charmer Alexa Demie demonstrates:

Offer him something to eat, regardless of whether you made it yourself, or it is pre-packaged. We men are primal, and yes, that saying about our stomachs and hearts is true. Something as simple as handing him part of your snack will go a long way.

If you have gotten to the stage at which some touching is okay, and the setting is right, offer him a platonic massage. This works best if you know some legit massage techniques. One very innocent variation is a facial massage:

By this point, if he picks up social cues, he understands that you are probably interested in more than friendship, but it's still implicit. Now, it depends on his hobbies and interests, but the idea is the same: Making his attraction to you more direct, by finding an opportunity to "show off" in some way.

For instance, if he goes to the gym, go with him, because blood is pumping, and that is very primal. If he goes to comic conventions or costume parties, go with him, and dress up as his favorite character or type of character.

By now, if everything has worked as planned, you are ready to go in for the kiss, and by all means, make the first move. Testosterone makes men competitive, under tension and pressure to perform in every context, so letting him relax, close his eyes and let you gently take over is his dream come true.

This is a gay girl scene, but it is a perfect example of how boldly to go in for the first big moment with your guy... no hesitation, and straight to his neck and ears. Julianne Moore's character, the passive one, is releasing pent up emotion, and this bold move is not just about "turning on" your man, but about getting him to let go of tensions, expectations and inhibitions, and just feel the moment, with you guiding him there.

He might close his eyes, he might whimper and quiver, or even get teary-eyed- this is perfect, because you unlocked his heart:

Once you have taken him this far, the one other trick is finding an excuse to kneel in front of him. This can be entirely G-rated... it's not about sex per se, but about taking that doe-eyed look even further, showing him that you trust and admire him, and yes, it is a possible hint of your future intentions.

If his shoelaces are untied, tie them for him, as a friendly gesture with strong subtext, then look up at him. If something spilled on the floor, kneel to clean it up, then look up at him. This is only for a very special man, but with this last move, you have him 100% hooked on you:

[onewomancitadel]

Cripes it really is weird thinking about the experience of the Sequel Trilogy of Starses Warses and not just the substantial storytelling 'meat', because the experience of TFA -> just a silly Reylo 'crack'shipper -> TLJ -> oh it's happening my God the Force bond is real -> TROS -> well they kissed and everything else fucking sucked.

I don't know, of course it's really part of a broader shift in fandom (professional fans, for instance, instant communication, etc.) and the ST itself was altogether kind of creatively strange and corporate storytelling is obviously incompatible with transformation, but anyway... point being I'm just surprised I didn't altogether give up because in retrospect it really feels like I should have.

I don't have any faith at all, the times that I enjoy stories now come as a surprise, and it's strange to reflect on when I did. It's not just a TROS thing, I've watched/read enough stories to know this is a problem that transcends SW and even D/isney, so many stories are not just formulaic which is not a bad thing but tiresome and thoughtless and ultimately commercial. This is like saying 'modern music is bad' which is just categorically not true, I'm speaking about broader trends and laziness and the devaluation of art and writing especially specific to genres that interest me fandom-wise in the case of romance.

It's easy to see why people think something as basic as engaging with a text is just 'reading into it'. On the other hand there are genuine cases where I think people are doing just that with media that has demonstrated zero narrative competency. Stranger Things is not thoughtful. It pulls its romance and ideas out of nowhere and has no coherent symbolic system. I've read plenty of meta for that where I feel bad for the people taking a thoughtless story seriously in a way that's just inappropriate for it. I think ST can be light entertainment and my boyfriend's dad likes it and that matters... but it's not like the first season didn't demonstrate they have some semblance of storytelling knowledge which they or the powers that be have elected to squander lol.

Like, really, sincerely, I am surprised I still care. Maybe that means something on its own. I have absolutely zero incentive to care. I don't need to be told this or that story is 'not that deep'. It's fine. I can tell on my own if it is or it isn't.

I still return to that same problem that storytelling rules and instincts and intuition and symbolism and reasonable and sensible foreshadowing is fucking beguiling to some people for some reason. Interpretive risk is scary, I suppose. Anyway. Onwards.

[thefaybul]

Movie Review: Ant Man and The Wasp Quantumania

Just to let you know that there are no spoilers in this post, merely this is my take on the story and movie as a whole. I avoid deep diving on any specific event outside of the ones critical to make the point about certain things. I was a little nervous to post this as I generally do not review movies, but hey if you like this please feel free to let me know.

Initial thoughts after having seen the movie. I had high hopes for this outing of the characters of the MCU. I wanted to have Jonathan Majors who plays Kang the Conqueror impress me and send PG rated chill down my back and to see a truly good story line developing through the demonstration of his power. So was it the great outing and grand presentation of Kang as his official MCU cinematic debut, sadly it did not feel like it was what I had hoped for.

Now to be certain I would actually recommend this movie for the entertainment value alone. Marvel has a tried and true formula for making entertaining movies that are fun to watch and that is what this is. Paul Rudd is funny and entertaining throughout this movie and the introduction of his daughter Cassie Lang played by Kathryn Newton is also enjoyable. Evangeline Lily as Hope Van Dyne leaves something to be desired, but the movie was not about her as she takes a back seat to most of the emotional parts of the movie. At times she comes off as a lovelorn teenager instead of the stern, dedicated, and experienced character that she was not that long ago in the prior iterations of the MCU.

This all comes together to make a tried and true Marvel movie, very little else. Jonathan Majors clearly does his best, which at points is menacing, however ultimately in the end is just another villian in the lineup that has no real bite or substance. He has one stand out scene in the whole movie where the writers were clearly working to present him as a real powerhouse and threat as the next “big bad.” This scene is in the prison negotiation where he is flinging all manners of people around and “Darth Vader” chokes two of the main characters. This scene is the one that shows you who Kang is and can be as the writers show that he can control everything in the area with just a flick of his fingers. Lines like “Have I killed you before,” and “I have killed many versions of the Avengers,” serve to show his real danger in his tone. Then by the end of the film he is reduced to a fist fight and while he is winning by leaps and bounds, comes off as not really serving the character that well. He is controlled and always in charge and yet has no back-ups for just this sort of instance, this goes against his earlier lines of “Do you know how many revolutions I have put down.” If he had really killed that many Avengers and decimated that many revolutions, why did he have a plan in place for the guy that shrinks and talks to ants.

So I guess my initial thoughts were that of disappointment. Not in the movie, actors, or even the MCU, but rather in the writers. Could we not have found a more creative way to end the story. I get cranking out movies at the rate that Marvel is, but the MCU is great and people return to it because when it started it was not like all the other movies. You have hundreds of storylines and plots in the Marvel comics to draw from and writers paid a lot of money all overseen by one of the most powerful juggernauts in entertainment at this time and you really are going to tell me that you couldn’t take a risk here with the story. That you can’t find a way to keep the real menace portrayed by your actor and still have a loose win for the good guys. Because honestly at this point I do not have much fear of Kang as now in cannotical MCU he has been killed and outright defeated twice. So please forgive me when the young Avengers or whoever beat him that I am not surprised.

Once again, I just want to say it. “I wanted to see a great villain.” I really did go into this movie excited to see the next MCU big bad kick butt and earn his place as a terror to be feared by the characters for the coming movies and yet I just did not get that from this movie. As for the CGI and the rest of the movie it was entertaining and fun for the family. I really do appreciate that Marvel is a reliable movie to go to with the family where the kids can be entertained and I don’t have to watch another episode of “Paw Patrol.” So I guess maybe I am asking too much of Disney. Maybe it is too hard to make a big bad that is that threatening and still have a good family movie, but the truth is I still enjoyed the movie. So I recommend you go see it and let me know what you think.

[nirikeehan]

For the DADWC: experiential docet - experience teaches, for Thalia Trevelyan.

Okay, so for this one I went for pure softness – here is a bit of a meet cute for Thalia and Cullen.

@dadrunkwriting

WC: 1692

---

The Herald snuck up on him sometimes. Cullen would turn around and there she’d be, watching him while his soldiers drilled around them. She always seemed a bit unsure, peppering him with questions about the Inquisition and his place within it. He was happy to answer, though some questions made him worry that this young woman had not seen much of the world beyond the confines of her Circle. That was hardly her fault, of course, but it was a concern all the same. 

Thalia had barely heard a thing about Kirkwall, for instance. Cullen explained the broad strokes to her, and then later brought it up to Cassandra — that whatever else was going on in Ostwick, the leadership kept a tight lid on the flow of information. 

“That’s a good thing, I suppose,” Cassandra mused. “That way she won’t be tainted by propaganda.”

That she wasn’t, and not by much else either. Whenever Thalia returned from a field mission, she wandered about Haven, stark blue eyes huge as an owl’s, taking in her surroundings like she still couldn’t believe it was real. In the war council room, she demonstrated impressive intellect, but that rarely translated to the dazed girl he often caught watching him from a safe distance.

“You don’t have to stand there and wait for me to notice you,” he said one day, lightly to show it was no reprimand. “You can just say hello.” 

“Oh.” Thalia blinked in surprise, and looked to her new boots. Josephine had replaced her torn, dirty traveling robes with beige trousers and an embroidered tailcoat, and he thought it suited her better. “I suppose I’m used to Templars making the first move.” 

“I’m not a Templar,” Cullen said, a little too emphatically. “Not anymore. You are not required to treat me as such. In fact, I insist upon it.” 

“Oh.” A tension in her shoulders eased. “That’s a relief. Many of them have such a high opinion of their own authority.” She paused. “No offense.”

“None taken. Can’t say I much liked that tendency in them, either.”

That drew a smile from her. “Hard to imagine you lasted with them as long as you did.” 

“You’ve no idea.” 

They shared a chuckle, and she looked away, blushing from the cold. Or perhaps something else. Cullen found himself studying her more closely. 

“Might I ask you a question?” 

“Hmm?” Thalia looked back to him, biting her lip thoughtfully. “Of course.” 

“How long were you at the Circle?” 

“Oh.” Her face scrunched up, as if recalling something unpleasant. “A little over a decade. My family— I was sent there when I was nearly fourteen. It was shortly before the Blight.” 

Twenty-four, then. Yes, older than Cullen had been thinking. Her naïveté had less to do with her age, and more with the length of her confinement. He felt indignant on her behalf. 

“Herald—” he began, struggling to articulate himself. 

“Oh, please don’t call me that,” she said quickly, cutting him off. “I’m not the Herald. I’m really not much of anything. My being here is a mistake.” 

She spoke with such deprecating certainty that it saddened him. “I’m not sure that’s true,” he said, frowning. “Your being here a mistake, I mean. We could debate the theology of the Herald business, of course, but that’s not the point. Whatever brought you here, you’ve risen to the occasion. That’s the important part.” 

Thalia stared at him for long enough that Cullen wondered if he ought to apologize. “Thank you,” she said at last. “That means a lot.” 

“You’re welcome.” Cullen felt his cheeks warming. He crossed his arms against his breastplate and cleared his throat, trying to think of something else to say. 

Thalia beat him to it. She squinted up at him, an impish grin crossing her face. “If you ever want to debate the theology, though — let me know.” 

He let out a surprised laugh. “Truly?” 

She shrugged. “I’d be curious to see what a Templar — sorry, former Templar — thinks about the state of such things. And we weren’t exactly encouraged to share our views at the Circle, with them or anyone else.” 

“Well, it’s been ages since my last Divinity class, but I might be able to provide decent conversation. Though I’m worried you’ll learn I’m a cretinous bore.” 

Thalia’s eyes lit up with laughter. “Somehow I doubt that, Commander.” 

That was how, a few nights later, Cullen was leading her into his tent. 

“Scandalous,” Thalia commented drily, eliciting a snort from him. 

“The tavern is too noisy,” Cullen said. “I can barely hear myself think in there.” 

“I wasn’t complaining,” Thalia said, taking in the surroundings. 

His tent was big enough to hold a small table and chairs, a wood stove for warmth, and a screen that divided the common area from where he slept. Back there was a cot, alongside which he’d stacked the little he’d brought with him from Kirkwall. His whole life fit neatly into a one-person tent, a fact of which he was not proud. The Templar Order owned the rest. This he was reminded of when he opened his trunk for a change of clothes and found himself contemplating the bottle of lyrium he’d stashed there. For “an emergency” only, he’d rationalized — though every time he nearly drank it felt like an emergency. 

“This is nice,” Thalia said. 

“It’s very nice,” Cullen agreed. “I told Josephine I did not need luxury accommodations, but she said some nonsense about keeping up the correct appearances. Would you like to take a seat?” 

“Thank you.” She pulled out one of the chairs and sat. She had a regal bearing — straight back, squared shoulders, the hallmarks of an aristocratic upbringing, no doubt — until she disrupted it by tucking one leg up under the other and leaning over the table to squint at the many books he’d stacked there. “Thedas, a Military History: Volume Seven,” she read off the top spine. 

Her gaze rose from the book to him, and Cullen felt his cheeks warming. “It’s interesting, but dense enough to put man to sleep also.”

“Those are the best kind.” Thalia’s voice was light, but she spoke seriously. “You learn a lot, but you also never have insomnia.” 

Cullen laughed. “Did you read a lot at the Ostwick Circle?” he asked, taking a seat beside her. 

“All the time,” Thalia said, gazing wistfully at the stack of books. “There wasn’t much else to do.”

Something about the way she said it — without complaint or disdain, just a flat resignation — filled him with sadness. This is the cost of the Circles. Of locking people up their whole lives. Cullen thought, not for the first time, that perhaps it was not a travesty that the entire institution was crumbling. 

“Do you miss it? Unfortunately Haven doesn’t have much of a library, but the quartermaster always has a way of procuring needed titles, and… I could always lend you something, if you wanted.” Was he rambling, or just giving her homework? Maybe shut up for a change, you dolt. 

“That would be nice, yes,” Thalia said, as if he hadn’t just been shooting off at the mouth. “It would be helpful, to learn how to actually win a war.”

“Well, the books can certainly teach you how to start one. Winning one is another story entirely. Everyone seems to have different ideas on how to accomplish that. Contradictory ones, often.” 

Thalia was quiet, and Cullen wondered if that was perhaps too blunt of him. But she pressed her palm against the table top, stifling the green glare from the mark on her hand, and straightened her shoulders. “I didn’t come here to debate dogma with you. Well, I mean, I would like to, of course, but that’s not the real reason I said yes.”

“Oh?” Cullen leaned back, giving her space to speak. 

 “May I tell you a secret, Commander?” She took a deep breath. “I’ve no idea what I’m doing. With any of it. The Breach, the Mage-Templar War, what the Inquisition is even supposed to mean, let alone how it’s supposed to act…” She shrugged helplessly. “I was hoping… I don’t know what I was hoping. But you’re a good listener, so here I am.” 

 “I’m… well, I’m flattered.” And he was, truly. He’d long prided himself on being the sort of professional others could come to with problems, or when in need of advice. This felt different, however. He’d never felt quite so honored to be sought out for counsel. “There’s a Tevinter phrase I’ve come across in my reading that I think about from time to time: experiential docet.” 

 He planned to translate for her, but recognition flickered in her eyes before he could. “‘Experience teaches’?” 

“It does, you know,” he said, clearing his throat. “It’s the greatest of all teachers. I’ve certainly learned much more from being in the field than any of my studies. Real life tends to have a… messiness to it, that no book can account for. I hope that isn’t presumptuous of me to say.” 

“It’s not,” Thalia said, holding his gaze. He found himself liking when she did that, 

“What I mean is, you’ll learn. You’ve good got strong instincts, a good intellect — and a gentleness. That’s rare in a leader, but absolutely essential, I think, if one is ever to achieve greatness.” 

Thalia blinked, stunned. “You— you think I’ll achieve greatness?” 

“I think it’s entirely possible,” Cullen said. “But you won’t have to do it alone. I’ll be there to help you.”

“You?” Her eyebrows raised. 

“Er— I mean ‘us.’ All of us — Cassandra, Josephine, Leliana…”

“I see.” She looked down, considering his words. “Thank you, Commander. You’ve given me a lot to think about.” 

“You don’t have to call me that, you know,” he blurted. “Just Cullen is fine.” 

A small smile worked its way onto Thalia’s lips. “If you insist.” 

She’s beautiful, he thought. Let himself think, for the first time in so long it felt alien, almost unnatural. He looked into her eyes and thought he could drown in them, if he wanted. Did he want that?

“I do.” 

[thecinematicalgorithm]

10 Reasons Why Zekaela Should Be Endgame (And Jachaela Should Not) - Part Two

Here is part two of my Zekaela endgame argument as promised. Beware of potential spoilers and enjoy.

5. They Communicate Well

Many argue that the key to a healthy relationship is communication. If a couple has an issue how can it be resolved unless they communicate? It’s easy to shut someone out when you don’t think they will understand, or you don’t trust them, or you’re afraid for whatever reason. Because Zeke and Michaela understand and trust each other they are able to communicate well, even about issues that are hard to talk about. Communication takes honesty and vulnerability, and something that many fail to realize, it also requires the ability to listen. Though Zeke takes time to open up to Michaela he never lies to her. He told her about his drug and alcohol addictions, his assault charge, his relationship with Courtney. There have been a few instances when they didn’t agree with one another but instead of becoming a deal breaker they were able to work through and resolve the issues with communication.

Michaela often shuts Jared out because she does not think he will understand or agree with her on her callings. Oftentimes, Jared does not listen to Michaela and even acts against her wishes. If he had truly listened to her and given her the space she needed he may have stood a better chance of rebuilding their relationship, and she would not have gotten shot either. In reality, Jared not listening to Michaela when she communicated her needs to him is what pushed Zeke and Michaela toward leaning on one another.

4. They Don’t Get Carried Away By Jealousy

There are many instances when Zeke and Michaela could be jealous of each other, and at times are, but instead choose to look past it. Michaela allowed Courtney to shelter with them despite her being Zeke’s ex-wife (though apparently not legally). Zeke has shown some discomfort with Jared and it’s not hard to see why. However, neither of them takes it out on the other. They don’t try to sabotage their partner’s relationship with the object of their jealousy and they even show understanding over why that relationship is important to their partner.

Jared is the complete opposite on this point. I really don’t think I need to elaborate. Mick literally got shot because of Jared’s jealousy.

3. They Put Each Other First

Zeke and Michaela are couple goals much of the time because they know how to put the other first. This demonstrates true, selfless love. There are so many instances of this quality in each of their characters. Michaela putting her job and relationship with Jared at risk simply to break Zeke out of jail. Zeke putting his life at risk to stay beside Michaela. Michaela putting her fears aside and marrying Zeke so that he could have the memory of their love rather than the memory of a desperate clinging to treatments in a sterile hospital. Zeke following Michaela’s lead and trusting in her decisions. They love each other so much that they are willing to overlook their own immediate needs or desires in order to make sure that the other is happy, because in short their partner’s joy brings them joy.

Jared often refuses to put Michaela first if it does not favor his desires. He could not give her space because he wanted to be closer to her. He could not let go of his vendetta against Zeke. He resents her for following her callings despite how they might save her life. This is not selfless love. It is possessive love. 

2. They Are Married

I cannot tell you how tired I am of Hollywood and entertainment making something as sincere and binding as a marriage so light and wishy-washy as if there aren’t enough divorces in real life. In today’s society marriage is not given the level of gravity and sincerity as it should be. Marriage should never be entered into lightly and it should not be so easily disintegrated. Despite the speed in which Zeke and Michaela got married the writer’s insured that there was a weight to the decision. It was given thought and both characters understood what was at stake. And when Zeke beat his death date the two were thrilled at the idea of “growing ancient” together. Michaela’s statement to Grace on how she couldn’t wait to “be on the other side” of the death date with Zeke shows that both want a lasting marriage. They want to spend their lives together, grow old together, make mistakes together. Their vows also demonstrated this with Zeke vowing to love Michaela as long as his life allows, and Michaela vowing to fight for their lives together for as long as they both shall live. Both kept that time stamp open-ended because both hoped it could be far longer than one day. Also Michaela’s sadness of her brother’s dilemma in his marriage and her immediate remorse over her affair with Jared and having destroyed another woman’s (her best friend’s to boot) marriage shows that she understands the importance of marriage vows and the ugliness of divorce and I am sure she would not want to go through that in her own marriage.

Jared has demonstrated twice how easily he overlooks the importance of marriage and marriage vows. He cheated on his own wife, and no matter how you justify it being with Michaela, it was still cheating and he still broke whatever vows he made. He showed very little remorse over it and didn’t fight for his marriage at all. Then he told Michaela in the season 3 finale that he only stood by and watched her marry Zeke (which he didn’t since we all saw him leave before the ceremony anyway) because Zeke would be gone soon. As if marriage to Michaela was a bone to throw to the poor dying man before he could have his chance to step in and have her to himself. He showed no thought in how this would have hurt Michaela to have been a widow so soon, and he did not hesitate in making his confession despite knowing the strain it might put on Zeke and Michaela’s marriage. I hope to God that the show writer’s will surprise us and show Zeke and Michaela work through even this obstacle only to come out in an even better and stronger marriage. They’ve shown us they can handle a good marriage with Ben and Grace, so hopefully they keep it up.

1. The Callings Brought Them Together

Lastly, the Callings, or whatever the entity behind them is, brought Zeke and Michaela together. The two were resurrected. They received callings that led them to find one another. They found a petrograph that showed their experience together. They received some of the same callings that led them to work together and hence grow closer. The callings ensured they got married when Michaela feared they were missing out on an opportunity to save Zeke’s life. If this is not the universe screaming out that they belong together I don’t know what is.

However, the first thing that the Callings did in order to insure that Michaela ended up with Zeke was separating Michaela from Jared in the first place. Indeed the Callings have actually managed to drive a wedge between the two on top of the already complicated nature of their relationship. Why go through this whole predestined story line only to go “Sike! She ends up with Jared anyways.” Not making Zekaela endgame would make everything that’s happened between these three characters completely pointless.

At the end of the day the story is in the hands of the writers. They have a plan and goal in mind. It’s impossible to tell what route they will go. However, the relationship of Jared with Michaela and Zeke with Michaela since season 1 has shown time and again that Jared does not have a healthy or selfless love for Michaela, but Zeke does. Every Jachaela worshiper always argues that there is too much chemistry and history between them for them to not be endgame, but relationships are so much more than chemistry. You can have chemistry with many people in life but that doesn’t mean you should end up with them. And oftentimes history can be toxic and unproductive which is shown with Jared not being able to let Michaela go or give her space. I don’t go running back to my exes all day long simply because we have chemistry and history. Oftentimes, history is enough to get you running away as we’ve seen Michaela do. So without their chemical history what do they really have?

Well Team Zekaela I hope you enjoyed! I will be going into Manifest Season 4 with hopes that the writers don’t sink our beautiful ship. Please share your thoughts and look out for future posts about Manifest, Zekaela and more!

[vhenanshiral]

On the Topic of Seiya Kou.

This is a Sailor Moon post rather than a Dragon Age post. Shocker, I know, but Sailor Moon is another one of my loves. This will focus on the 90s anime adaptation of the manga. So do not come at me with “but in the manga,” because the 90s adaptation and the manga were incredibly different in multiple ways. Seiya will be referred to as she/her because the male form was a disguise. That being said, any interpretation of Seiya’s gender is valid and I love them all! Anyway. I see a lot of shit talking about Seiya and it’s honestly ... super tiring. So many of the “negative” points against Seiya are misinterpreted, misunderstood, and misrepresented for the sake of making her look like a dumpster fire. 1. “Seiya is creepy towards Usagi and stalks her.” Except ... she doesn’t. They meet by accident numerous times, and in fact Usagi even seeks Seiya out. They develop a friendship, and it’s normal and natural for friends to seek each other out. Usagi and the girls actually, literally stalk the Three Lights more than once during the season. 2. “Seiya thinks Usagi is weak because she told Mamoru to take care of her when they left.” This honestly makes no sense to me. It is repeatedly shown that Seiya admires Usagi’s strength, both as Usagi and as Sailor Moon. It is natural to want the people you love to be protected, and that does not mean that you think they’re weak and incapable of protecting themselves. Seiya knew Usagi was capable and strong because she had seen her demonstrate these traits multiple times. Throughout the season, Seiya repeatedly lifts Usagi up with her confidence in her capabilities. This is even before she knows she is Sailor Moon. Let’s not forget that when Galaxia kills all of the Inners, they ask the Starlights to protect Sailor Moon, so saying that Seiya telling Mamoru to take care of her means she thinks she is weak ... that must mean everyone else thinks she is too, right? It’s absurd. 3. “Seiya can’t take ‘no’ for an answer, always hits on her, and is constantly pressuring her into a relationship.” It is true that Seiya repeatedly quips about “having a chance” with Usagi. It’s also true that Usagi repeatedly reminds Seiya that she has a boyfriend. But it isn’t true that Seiya repeatedly attempts to coerce her into a relationship. It also isn’t true that she does it all the time. While she shouldn’t have done it even more than once (when she was unaware of Usagi’s relationship status,) it’s obvious from the context that she isn’t being serious. Seiya repeatedly making quips is an issue, and while those kinds of situations can and often do mean someone is being a “Nice Guy,” a predator, an abuser, etc., we know from everything that we see that it is not the case with Seiya. Let’s take the “date,” for an example: Seiya throws it out there (literally, just time and place and walks off) and Usagi willingly shows up the next day and is even irritated that Seiya is late. Usagi is not forced or coerced into the date; she retains all of the power regarding whether or not she shows up. She would not have gone if she didn’t want to. Actually, let’s look at these instances of Seiya hitting/making a move on Usagi. - In the “date” episode, Usagi thinks that Seiya is going to make a move on her. Some suggest that Usagi thinks she is going to kiss her, but the language, Usagi’s expressions, and her reaction to the truth seem to imply that she thinks Seiya is suggesting something more intimate. - In the episode with the beach monster when Chibi Chibi opens up the door and pushes Seiya over on to Usagi, Usagi is the one who, again, assumes Seiya is up to No Good, despite it being a complete accident and innocent on Seiya’s part. - In the episode where Seiya spends the night at Usagi’s because she’s alone and Seiya very nearly confesses who she is to Usagi while they’re in her bedroom, it is Usagi who believes that Seiya is going to confess to having a crush on her. - Later in that same episode, when they are hiding in the cabinet and Seiya again thinks about confessing her true identity to her, it is Usagi who thinks Seiya is about to suggest something intimate. In fact, throughout the season, it is everyone from Usagi, to the other girls, to single-episode characters, to even Luna who think that Seiya is going to suggest or attempt illicit activities with Usagi, and not Seiya. It is all but explicitly stated that Usagi is attracted to Seiya. Not just because of the implications of her assumptions, but also because she is scolded over it. In fact, Rei tells her that she needs to sort her feelings out. Haruka and Michiru forbid her from seeing Seiya because she has Mamoru. She may not love Seiya the same way, but she is attracted to her and she does love her (and Usagi being attracted to other people is not a new thing.) Let’s look at the softball episode, because it’s ... pretty problematic and people often point to it as being one of the episodes that paint Seiya as some creepy stalker who can’t just take a hint and tells everyone that Usagi is her girlfriend. It is Rei who thinks that Seiya training Usagi in softball is inappropriate (let’s remember that it is Ami who thinks that something illicit is going on with Seiya and Usagi in the bodyguard episode...) because Mamoru is Usagi’s boyfriend, not Seiya. It is Sonoko who insists that Seiya’s “relationship” with Usagi isn’t acceptable, and it is her that places the bet that if Seiya’s team loses, she’s not to associate with Usagi anymore. Seiya agrees because she’s competitive, hates to lose, has confidence in herself and Usagi, and knows that Sonoko is wrong. When Usagi tries to interject about the actual nature of their relationship (that they’re not dating,) it’s the girls who shush her because they’re expecting Seiya’s team to lose and that will give them the opportunity to make Seiya feel better. I want to touch on the “Seiya knows Sonoko is wrong” part. I think what a lot of people don’t think about is that when Sonoko placed this bet and openly stated her disapproval of Seiya spending time with Usagi, Sonoko was attacking Usagi’s worth as a person. She was openly saying that Usagi wasn’t good enough to be hanging out with Seiya in any capacity. Seiya took issue with this because she obviously believes and knows differently. She values Usagi as a person. Who is Sonoko to decide who is and isn’t good enough to spend time with her? Seiya is not approaching the situation with entirely selfish motives, unlike the girls who fed into the Seiya/Usagi romance for the hopeful eventuality of them being able to comfort Seiya after a loss when she’ll be forced to stop hanging out with Usagi. She uses this situation to help bolster Usagi’s confidence in herself. That doesn’t change the fact that the bet is stupid to begin with, but it is what it is. Oh, additionally ... Seiya doesn’t tell the school that she and Usagi are dating. Them dating is an assumption that Seiya simply doesn’t correct. It’s worth noting that if she did correct that assumption, it would feed into Sonoko’s declaration that Usagi isn’t good enough to be with Seiya. 4. “Seiya tried to make the rooftop scene about herself and used it as a way to try to take Mamoru’s place in Usagi’s life.” This whole entire scene is consistently misinterpreted and has all of the context ripped from it, because that is not what that scene is. No, it 100% was not the best time for Seiya to ask that question (and no, it is not “can I take his place?” that she says,) but people tend to forget that Usagi is not the only vulnerable person in this scene and it isn’t just about her. It is Seiya who triggers Usagi’s emotional breakdown on accident, and in these moments she is watching the person she loves crumble into pieces. The rooftop scene is about both of them and the context makes that clear. Up until this point, the only person who knew that Mamoru wasn’t keeping in contact with Usagi was Seiya. None of the girls knew, none of them. Imagine the amount of trust Usagi had to have in Seiya in order to share that incredibly sensitive information with her and with no one else, not even her closest friends. Usagi had told Seiya a whole 13 episodes before this one, and since finding out Seiya tried her best to make Usagi happy and to keep her mind busy. It isn’t until a few episodes after this that everyone including Seiya finds out that Mamoru is dead. So Seiya spends all of this time believing that Mamoru ditched Usagi when he moved overseas and that he’s a horrible boyfriend who obviously doesn’t care about Usagi. This is naturally hurtful to Seiya, who grows to genuinely like and love Usagi through the season. She cares for her and doesn’t want to see her in pain, which is why she does her best to help Usagi feel less alone. There is no point in the season where Seiya’s intentions are to maliciously shove herself into Mamoru’s place in Usagi’s life. She has no idea who Tuxedo Mask is. She had no idea that throwing the red rose - her own personal trademark - was going to trigger such an emotional response from Usagi. So here they both are on this rooftop in the middle of the pouring rain. Usagi’s breaking down over how alone she feels, and Seiya’s suddenly faced with the realization that not only did she cause this breakdown, everything she had been trying to do to help her wasn’t working and she failed again. She couldn’t save her system/planets, 99.9% of her people are literally dead because she wasn’t strong enough to save them, and she and the other two members of her team had no idea where their princess was or even if she was okay until the episode before this one. Immediately after the destruction of everything they knew, the Starlights had to flee to an alien planet with alien people, disguise themselves, and pander to a bunch of complete strangers that salivated over, stalked, and harassed them, all while searching for their princess  and fighting the minions of the person who ctrl+a ctrl+x’ed their home system. She had no time to process any of the unimaginable loss and failure she had suffered through. When people talk about the rooftop scene and about how Seiya “makes it about herself,” this is everything they’re forgetting. When Seiya is asking Usagi if she isn’t good enough, it isn’t Seiya trying to weasel her way in, it’s Seiya both coping with her own numerous losses and trying to remind Usagi that she’s there for her. In the end, Seiya is the one that Usagi credits with being able to get herself through everything she was dealing with.

[robininthelabyrinth]

Spilled Pearls Extra 1

- ao3 -

Lan Xichen spent a lot of time learning his family’s rules.

They were important to his uncle, who raised him, and that meant that they were important to him. They were his heritage and his birthright, and anyway he loved his uncle and it made him happy which was good enough for Lan Xichen, but that didn’t make learning them easy or anything. Each rule had to be learned both by itself and in context with others; it wasn’t as simple as memorizing a list and calling it done. You had to learn them and know them and then live up to them to the best of your ability, and that was the work of a lifetime – which Lan Xichen, now six years old, had been informed was an awful long time.

Moreover, though his uncle had never said so, Lan Xichen had heard from the other people in the sect that learning the rules was important because following the rules would make sure he didn’t turn out like his father, who had let down so many people in their sect. Many of the elders said things like that when his uncle wasn’t around, though his uncle never did – his uncle spoke well of their father, although in abstract tones, but sometimes he looked sad about it, too, and therefore Lan Xichen was determined to listen and learn the rules well so that he would never disappoint his uncle the way his father had.

Of course, there were other advantages to learning the rules.

The commentary, for instance.

----------------------------------------------------------------------------------------------

1

Talking behind other people's backs is prohibited.

“Unless it’s really funny,” Lan Yueheng said, and – as always – seemed not to notice the way Lan Xichen’s uncle glared at him. “Oooh, actually, let me give you an example, I just heard the best story –”

-

“If you don’t understand those around you, you will be at their mercy, rather than they at yours,” Wen Ruohan said, perfectly poised and with a sharp smirk, just the way he always was unless he happened to be talking to Lan Xichen’s uncle. “How better to learn to understand people than to know what others say about them when they are not around?” His smirk widened. “Look at what people say about me.”

-

“What are you supposed to do if you don’t?” Lao Nie asked, grinning wickedly. “Say mean things about them in front of their faces instead? I can do that!”

-

“I mean, if it’s news, it’s not gossip, right?” Cangse Sanren said, tapping her cheek while pretending to be thoughtful as if it would hide her great big smile. “I’m sure that’s how I learned it, and I was a very good student – no, no, don’t listen to what your uncle says!”

-

“Well, I wish my mother would do less of it,” Wen Xu said, rolling his eyes. He’d come along to visit with his father again the way he always did – he was always tagging along with his father, really, and his father indulged him more often than he probably should, according to both sects’ elders. Not that Wen Ruohan listened to anyone but Lan Xichen’s uncle. “Sometimes I think that’s all she does! It’s boring!”

-

“If you mean what you say and say what you mean, then your friends will never doubt you whether you are in front of them or not,” Nie Mingjue said, then frowned. “I mean, I think?”

-

“Listen to A-Jue,” Lan Xichen’s uncle said when Lan Xichen reported on the discussions, throwing up his hands in disgust. “He’s the only one of the lot of them worth anything.”

“It’s his mother’s contribution,” Lao Nie opined.

“It’s certainly not yours,” Wen Ruohan said. “Anyway, what was wrong with A-Xu’s answer? It was accurate.”

“It has nothing to do with the rule!”

“That’s because I’ve already mastered it years ago,” Wen Xu said cheerfully. Surprisingly cheerfully, given that Nie Mingjue was sitting on him again; maybe he’d gotten used to Nie Mingjue always winning.

Lan Xichen’s uncle rubbed his forehead. “A-Xu, if you really want to go copy the rules on humility a few more times, you don’t have to wait for me to instruct you to do so –”

“He’s right, though,” Cangse Sanren cackled from her husband’s lap. “Madame Wen is an amazing source of gossip, but it does get a bit boring sometimes. You can’t punish him for being right!”

----------------------------------------------------------------------------------------------

2

Do not succumb to rage.

“Unless there’s a very good reason,” Lao Nie said, picking Lan Xichen up in one arm as if he weighed as little as a feather, and Nie Mingjue in the other just as easily, even though he was much bigger. “In the world there are many injustices, and it is your duty to fight against them with everything that you have – if you are wholly above the feeling of rage, then you have forgotten your empathy, and soon will follow the crooked path into indifference.”

-

“The issue is succumbing to rage,” Wen Ruohan said. “You can be angry, or even furious, but you should always maintain your self-control. Once you’ve mastered yourself, you can master others.”

-

“He means get revenge,” Wen Xu said knowledgably. “You get angry, then you get even.”

-

“Oh, rage?” Cangse Sanren asked, rolling up her sleeves. “Well, as it happens, I’m going to go have a chat with your mother, I’ll give you a good demonstration of –”

“You are doing no such thing,” Lan Xichen’s uncle said, exasperated. “Get back here.”

-

“It’s a waste of time,” Lan Yueheng said. “Getting angry takes time and energy. Why not be happy instead?” He thought about it. “Well, I mean, sometimes cursing a little bit when something goes wrong is nice. Even the calmest concoction needs to blow off steam sometimes to retain its equilibrium!”

----------------------------------------------------------------------------------------------

3

Do not disrespect your elders.

“And I,” Wen Ruohan said, looking positively gleeful, “am the eldest.”

“Don’t listen to him,” Lan Xichen’s uncle said at once. “Xichen, you hear me? Don’t listen to him.”

-

“There’s a difference between disrespect and disobedience,” Cangse Sanren said. “Being old doesn’t mean being right, it means that there’s a greater probability that they’ve encountered something in their lifetime that will give them an insight you lack. You should honor and respect their insight, but always make your own decisions in the end.”

-

“I mean, you could always listen to me, instead,” Lao Nie said. “I’m your elder too, aren’t I?”

-

“Don’t listen to either Uncle Wen or my father,” Nie Mingjue said, looking long-suffering. “They both like to play tricks.”

-

“Wait,” Lan Yueheng said. “I’m an elder? Since when? That’s a terrible idea!”

----------------------------------------------------------------------------------------------

4

Do not take advantage of your position to oppress others.

“Don’t listen to Wen Ruohan,” Cangse Sanren said.

-

“Don’t listen to Sect Leader Wen,” Lan Yueheng said.

-

“Definitely do not listen to Hanhan,” Lao Nie said. “At all. In any way.”

-

“Probably best not to listen to A-Xu’s dad,” Nie Mingjue said, and glanced over apologetically.

“No, no, you’re right,” Wen Xu said, nodding furiously. “He’s kind of awful about these sorts of things.”

-

“They’re all being absolutely ridiculous,” Wen Ruohan said. “I’m perfectly reliable on such matters. After all, what’s the point of working so hard to obtain and maintain power if you don’t oppress those that deserve it? If you don’t take advantage, who will?”

----------------------------------------------------------------------------------------------

5

Do not make assumptions about others.

“I used to assume that Cangse Sanren was  a normal human being,” Lan Yueheng said. “Goes to show what I know, right?”

-

“I used to assume that Wen Ruohan was a perfectly normal self-absorbed murderer that would keep his greedy hands to his own people,” Cangse Sanren said, sounding irritable. “And not have perfectly ordinary rogue cultivators followed around by complete weirdos because he’s secretly worried about them like a mother hen!”

-

“I used to assume that people would be grateful when someone rescued them and their husband from near certain death,” Wen Ruohan said.

-

“I used to assume that the funniest thing in the world was watching Hanhan argue with your uncle,” Lao Nie said, chin on his hands. “Little did I know that adding Cangse Sanren to the mix made it even funnier.”

-

“Grown-ups are stupid sometimes,” Wen Xu said. “That’s why you have to verify everything they say for yourself.”

----------------------------------------------------------------------------------------------

6

Embrace the entirety of the world.

“By being righteous,” Nie Mingjue said.

-

“By taking it all over, as far as I can tell from my father,” Wen Xu said.

-

“Depends on what you define as the world, doesn’t it?” Lao Nie said.

-

“Be ambitious,” Wen Ruohan said. “Define it broadly.”

-

“I mean, I don’t think your arms are quite long enough yet, the world’s pretty big,” Lan Yueheng said. “But I pick you up and swing you around, maybe they’ll stretch a little. Want to try?”

----------------------------------------------------------------------------------------------

7

Do not associate with evil.

“I mean, it’s true, but you have to think carefully about what you categorize as evil,” Lao Nie said. “Just being a man-eating nation-destroying inhuman amoral nine-tailed fox isn’t automatically enough to qualify, right?”

-

“That’s, uh, a really weirdly specific example,” Lan Yueheng said. “I feel like at least three of the things on that list probably rise to the level of evil? Or have I missed something?”

-

“Lao Nie said – oh no, not again,” Wen Ruohan said, and patted Lan Xichen on the head before he stalked out the door. “I’m the only evil you should associate with, you hear me?”

-

“I bet she’s got teeth in interesting places,” Cangse Sanren said. “I’ve got to meet her…hmm? Evil? Does that really matter? It’s going to be funny.”

-

“She’s not evil,” Nie Mingjue said. “She’s pretty nice, actually. She calls me ‘meatball’ and ‘pork bun’ and says I’m so cute that she wants to eat me right up.”

-

“I’m pretty sure she means it literally,” Wen Xu said. “Gear up, Xichen! We’ve got to go save Mingjue!”

----------------------------------------------------------------------------------------------

8

Do not tell lies.

“People don’t believe the truth, so why not tell it?” Cangse Sanren said.

-

“Using the truth makes your misdirections more believable and your critiques more devastating,” Wen Ruohan said.

-

“Why would you even want to lie?” Nie Mingjue asked, puzzled.

-

“There’s a difference between not telling lies and not having the slightest bit of tact,” Lao Nie said, rubbing his face. “Maybe you can help A-Jue figure that out.”

-

“Silence is always a good alternative when you don’t want to admit to stuff you’ve done that maybe, just maybe, might annoy some people,” Lan Yueheng said, looking over his collapsed laboratory with a wince. “Not that I’d know anything about that, of course.”

-

“Telling a lie will only get you into more trouble later when they figure it out,” Wen Xu said. “Because then they’re angry at you for what you did and for lying about it. It’s just not worth it!”

----------------------------------------------------------------------------------------------

9

Do not disregard the rules.

“Unless they’re really stupid,” Lao Nie said.

-

“I mean,” Nie Mingjue said, wrinkling his nose. “As a general rule, yes. But it’s different if following the rules would permit injustice to happen, that’s for sure.”

-

“It’s a matter of picking what rule is the relevant one,” Wen Ruohan said. “Be thoughtful, and you can have the moral high ground in any situation…your uncle is irritatingly good at that.”

-

“You’ve got to know what the rule is before you break it,” Wen Xu said. “That way you can decide if it’s worth the cost of breaking it or not.”

-

“If there’s any you think are wrong, you should say something,” Lan Yueheng said. “The rules are a gift handed down from our ancestors and ought to be respected, but each of us has a duty to put in our own thoughts as well – our contribution to the next generation down. Anyway, your uncle will probably be able to put together a reasonable argument as to why changing the rule is appropriate and truer to our sect’s principles than the version carved on the wall. He’s good at that!”

----------------------------------------------------------------------------------------------

10

“I want the rules to be a foundation under your feet,” Lan Xichen’s uncle said. “They should give you confidence in your actions and pride in your family and sect; they should not feel like they are binding you. If they are, you’d tell me, wouldn’t you?”

Maybe if it was just Lan Xichen and his uncle, the two of them and maybe also little baby Lan Wangji and the rather unreliable Lan Yueheng and the even more unreliable Lao Nie, Lan Xichen would immediately and unhesitatingly agree, and then never say anything anyway no matter what he felt. He loved his uncle so much, and every one in a while his uncle seemed so sad; he couldn’t bear to be the one to add more pain and burden to his uncle’s shoulders, already weighed down with the expectations of the sect that should have been his father’s responsibility and would one day be Lan Xichen’s.

But it wasn’t just them, and Lan Xichen frowned a little, really thinking about it. “Maybe,” he said after a while. “Or maybe I’d tell Uncle Wen about it, and then he’d find a way to fix it, or to tell you about it in a way that didn’t make you sad. Does that work, too?”

His uncle looked amused.

“Yes,” he said. “That works. Just remember –”

“Don’t listen to him about ‘oppressing others’?”

“Exactly.”

[mountain-man-cumeth]

What Went Wrong: An In-Depth Analysis of Muriel's Route

*Youtuber voice*

Below are the opinions of an uneducated individual on what could’ve left the majority of The Arcana audience dissatisfied. I will explore the plot, tropes, themes and morals of the Muriel route and try to explain what may have gone wrong. I will be treating the game as a novel since it's advertised as one.

1. Consistency. If you are unfamiliar with the chekhov's gun; it's a story writing principle that dictates each element you introduce should come into play (foreshadowing). Now let's start with a few story beats that were later abandoned or concluded in an underwhelming manner:

Muriel's blanket

Muriel's magic mark (on his back)

Forest spirit (spirits in general)

Lucio's upbringing

Circumstances of MC's death

Figurines/whittling/charms

Muriel's blanket is teased to be a tapestry, which would tie in with his later fascination with them later on, as it had been the only thing he had left from his past. MC neither sees nor comments on the blanket, we only know it exists thanks to other playthroughs and short stories.

Magic marks are an important point in the game. Every main route emphasises on how it affects the chosen LI. It's reveal is important in a way that it serves as a passage to a new act where the reader explores magic and Arcana pantheon as they are a monumental part of the overall worldbuilding. This exact point applies to the Heart of the Forest and how spirits interact with the world around them as well.

Whittling and Charm making are the only hobbies we get from Muriel's isolated life, their introduction helps the reader humanise the character by giving us a crumb of his everyday life. It's never mentioned again after the scene where MC asks him what he does. He doesn't idly whittle during their journey and charms only come to play in an offhanded reference during reversed ending.

The other two are also ignored but I will touch on Lucio later on.

Why do these matter? A few abandoned plot points don't make or break the story but on a grander level it hinders the audience investment. When we read, we like to think the details we notice will come to play eventually, we like recognizing references that were introduced earlier. I'm sure I don't need to give examples on this one, I don't think anyone will disagree.

2. Themes. Thematic influences this story utilized are all over the place, and it seems to me like it stems from the improper application of certain tropes;

The Hero's Journey

Home Sweet Home

Shell-Shocked Vet

Last of His Kind

etc.

Some of these tropes tackle themes such as;

Slavery

PTSD

Survivor's Guilt

Genocide

I'm not going to try to explain How to Write any of these topics. I'm not remotely qualified. I think it's better if I just give examples from popular media because whether you know how to write it or not, you can still understand when it's written well;

AtLA deals with genocide and survivor's guilt. It's in the name; The Last Airbender. Aang is the sole survivor of a culture he'd only had an opportunity to engage in for a handful of years. He left them with a childish tantrum and now they're gone forever. I can't think of another mainstream series that shows the gruesome reality of war and genocide better than this one.

When Muriel realizes his true heritage and loses Khamgalai is the point of the story where Luke sees his family's farm burned down, Aang goes back to the air temple, Treebeard walks in on the demolished part of the forest. (The inciting incident)

(Could also have been forest spirit’s death but it was too early in the story so I don’t consider it a missed opportunity.)

Up until this point the hero has their doubts, they're going through the motions but they are either underestimating the enemy or they're a passive protagonist. Either way, this is the point where the hero has to take the reins of the story. What purpose does this serve in Muriel's route instead? It simply validates Muriel's beliefs. He's useless, he isn't strong enough. We as the reader need a point to see where the hero takes a step to drive the story forward or whoever takes that step will steal the spotlight, it will be their story. As it is, this is the point where it ceases to be Muriel’s story.

PTSD got the worst end of the deal. Since Dragon Age fandom has a huge overlap with the Arcana I will use Fenris as an example; for those who are unfamiliar with the character, Fenris is an escaped slave. After the sex scene he vividly describes an experience that most people can easily identify as a flashback. The game never tells us that he was abused, it doesn’t show us him having a panic attack but it shows us that whatever transpired between him and the player character clearly triggered an unpleasant memory.

Arcana tries and initially succeeds to do something similar. We see that the character is untrustworthy, sensitive to touch, easily agitated, can’t sleep outside of his perceived safe environment… It introduces us the cause later on and the story has two options, each will drastically change the moral of the story:

Remember these as they will be important later on

Portray Muriel fighting as a bad thing; You can’t fight violence with violence angle or the fact that the villain’s forcing him into a situation where he’ll have to fight again makes the villain all the more intimidating.

Portray Muriel fighting as a good thing; He has the means to defeat the villain and he just needs encouragement. With great power comes great responsibility. By not fighting he willingly condemns everyone to an awful fate and that he is selfish.

I’d like to take a second to explore the 1. Option, I feel like the game may have intended to implement that idea but failed because of the implementation of Morga and choices presented for the player character: Morga is an Old-Soldier, these characters are often push the hero out of their comfort zone in an aggressive way towards complacency, they are a narrative foil to the mentor. For the first option to work the story had to show Khamgalai acting as a mentor and having the protagonists challenge Morga’s teachings(see Ozai-Iroh). As it is, Morga’s actions are never put under scrutiny (narratively) and her death feels hollow as a result. She didn’t sacrifice herself for the heroes due to her guilt, she died because she felt a moment of sympathy for her son which wasn’t explored before, she showed no intention to change nor any doubt.

It is clear the game choose 2. Option, it is a controversial choice given Muriel’s mental condition and the game is acutely aware of this, which is likely why Muriel’s PTSD will get carefully scraped from the story from here on out. (I won’t address other instances where his trauma wasn’t taken into account, I feel like this explanation should cover them as well.)

3. Morals. Every story, whether the author intends it or not, has a moral. The Villain most often acts against that moral and in turn can change the hero's perspective. Morals are not ideals; the morality of Killmonger isn’t that marginalised people should fight for their rights, it is that vengeance is just. Whether it’s right or wrong can be debated but what makes an ideal the moral of the story is in the portrayal. How the narrator depicts the events, how people around the heroes react... all are a part of portrayal.

The story choosing ��Muriel fighting is a good thing” earlier puts in the foundation of a moral. The story tells us Muriel has to fight, it’s the right thing to do. He has to be brave for the people he loves.

This choice affects how his past actions will be perceived; now, him escaping the arena to save himself is cowardly, abandoning Morga is cowardly.

The story tells us it wasn’t, but shows us that it was. This is the end of the midpoint of the story, at this point we need to have a good grasp on what we should perceive as wrong or right for us to feel invested. If we zig-zag between the morals we won’t know which actions we should root for. But more than that, the conclusion will not feel cathartic as it will inevitably demonstrate the opposing ideals clashing at its climax.

Villain doesn't necessarily have to be sympathetic and Muriel's route makes no effort to make him as such, but they need to be understandable. What danger does Lucio pose to the status quo, what makes him a compelling villain? Whether he conquers Vesuvia or not doesn’t drastically affect Muriel’s way of life, he’s been in hiding for years. He doesn’t threaten to steal MC’s body, Muriel is not compelled to pick up arms to save his beloved. He wants to protect the people from going through what he’s been through, right? That is what the story wants us to think. But what has he been through? Fighting was his choice, Lucio tricked him into it. Lucio later tricked Morga, his own mother, to save his own hide. This tells us that Lucio is a manipulator, but he doesn’t manipulate his way into Vesuvia, he barges in with deus ex machina monsters. He doesn’t demonstrate his skills as a tactician by making deals with neighbouring kingdoms to get their armies. We don’t know his strengths therefore we don’t know his weaknesses. If he seems to be losing he can just conjure a giant dragon to burn everything down, we just can’t know. That is why the application of deus ex machina is highly taboo, the victories don’t feel earned and defeats feel unfair.

4. Tone. Playing with the genre is not uncommon and a game such as Arcana has many opportunities to do so. It is a romance story, everything else is the back-drop. The tone works best when its overall consistent but tonal changes act as shock for the audience to keep them engaged and keeping one tone indefinitely gets us desensitized. We can’t feel constant misery if we are not made to feel tinges of hope in between. Good examples of dramatic tonal change (that I can think of): Mulan - arriving at the decimated village, La Vita e Bella - the father’s death, M*A*S*H - death of Hawkeye’s friend. Two of these examples are mostly comedy which is why this tonal shift affects us so, it was all fun and games until we are slapped in the face with the war going on. There are no one liners in those scenes, the story takes a moment to show appropriate respect to the dead, it gives its characters time to digest and come to terms with loss. Bad examples are the majority of Marvel movies.

In Muriel’s route there’s never such a thing, Muriel has a panic attack and MC kisses him. This unintentionally tells us, the genre being romance, that the panic attack only served to further MC’s advances. It tells us that he’s never had the control of his life and it’s yet again stripped from him by the decisions of player character. This is not the only instance this happens. The story shoe-horns in multiple cuddle sessions between important plot beats. And it does the exact opposite during a moment where he is having a heart-to-heart with the person he loves by having the ghost of Morga appear to give an ominous warning/advice.

When he runs off during masquerade it’s built up to be an important plot point. Muriel will finally face his past, he’s been running away from it all along, and he will have an opportunity to be accepted back in. MC is supportive but ultimately, it’s meant to be Muriel's moment. But as I mentioned above this is not his story anymore so he’s not given any time to address his problems, instead a ghost appears to tell him what he needs to do, again. Because we need to wrap the story up, we don’t have time.

Remember how I said the 2 Options will be important later on, well here we are at the very end. Upright and reversed.

“Portray Muriel fighting as a bad thing”

This suggests that the triumph of Muriel won’t be through violence. Maybe he will outsmart Lucio in a different way, he won’t play his games anymore. This option suggests that Lucio will not be beaten by his own terms.

“Portray Muriel fighting as a good thing”

This option concludes with Muriel finally overcoming his reservations on violence and doing what's right to save the people he loves. And bringing justice to people who Lucio hurt.

If you are wondering why the upright ending feels random, this is likely why. The ending plays out as if the story was building on the 1st option while we spent chapters upon chapters playing out the 2nd one. It is unearned.

(The reversed ending, being reversed, also uses Option 1 path but in which Muriel can’t achieve his narrative conclusion)

The Coliseum is filled with people who are on their side against Lucio’s shadow goons. Because we can’t have people being on Lucio’s side without addressing the duality of human nature, even though it’s an important part of Muriel’s story. The people who watched and enjoyed Lucio’s bloodsport are no more, they are all new and enlightened offscreen. We completely skipped the part where Vesuvia comes to terms with its own complacency and Muriel simply feels at ease because the crowd is cheering on him now. This is what happens when you give the character a chance to challenge those who have been complicit in his abuse (masquerade scene) and completely skip it to move the story along.

Muriel doesn't get justice, ever. The people only love him now because he's fighting for them instead of his own survival. Morga or her clan doesn't answer for the massacre of Kokhuri, Vesuvia doesn't answer for the sick entertainment they indulged in and Lucio doesn't answer for Muriel's enslavement. It is not even acknowledged, nowhere in the story (except the very end of reversed ending, and even then it almost gets him killed so its clearly the wrong thing to do on his part) is a choice presented where Muriel has an opportunity to get any sort of compensation where he instead chooses to move on.

I don’t intend to straw man anyone but this is a sentiment I’ve seen a lot; “It’s a short story, a dating-sim, what do you expect?”

I expect nothing, I’m simply explaining why some people feel how they feel. It is a short dating-sim but it seems to me like it was aiming to be something more by borrowing elements that were clearly far above their weight range to tease something more and under deliver. It is okay to feel content with the story, and it’s okay to feel let down. If we had a unanimous decision on literature we would never be inclined to write our own stories.

[fermented-writers-block]

PART 1 of 6 of the Owl Deity Hooty Theory

[NEXT PART]

[OWL DEITY HOOTY THEORY MASTERPOST] (in development)

(TLDR at bottom of post)

Over several long months of research and analysis since March of 2020, I have been following an utterly fascinating thread of potential misdirection and subtle details throughout The Owl House, and today, I would like to start weaving together of what I believe could become one of the biggest and most cleverly disguised twists in the entire show.

To begin, let’s take a look at the B plot of Understanding Willow:

On first glance, it’s an ultimately inconsequential sidestory with the sole purpose of justifying an excuse to keep Luz and Amity in Willow’s mind, as well as providing some well-needed room to breathe and release tension after the veryemotionally charged confrontation with Inner Willow. After half an episode of Eda and King outdoing the other in ridiculous ways to win Gus’ vote and Gus running off in frustration at the end of the episode from Hooty’s inane rambling, it’s easy to laugh off Gus’ pick and assume that nothing/of value was said when he closed the door for the interview.

However, if one pays close attention to that very scene, Hooty actually canstill be heard (if faintly) underneath Eda and King’s grumbling, interestingly talking about how “It all started with a hunt. Blood red skies. That’s right, I was created-.”

Now, while it may seem silly to focus on dialogue from Hooty of all characters, this A) tells us that there was an event in the past involving blood red skies and a hunt of some kind, B) that Hooty had been created close to said event, and C) implies that what he knows but can’t tell as a story worth a damn is EXTREMELY important to be included and be hidden in such a manner.

For comparison, the only other instance of dialogue being tucked away in the background in the entire show is in Wing It Like Witches:

During the lecture at the beginning of the episode, the history teacher openswith lore on Belos appointing a head witch to each coven over 50 years ago, immediately cluing in the audience to try and decipher the rest of the lecture as it moves to the background. Adding to this is how the musical sting when Luz shows off her movie obscures what he says even further, making it even more of a intriguing puzzle that the creators clearly intended for viewers to pick up on and attempt to solve.

In contrast, the hidden dialogue of Hooty’s interview is much shorter and not as hard to decipher as the teacher’s history lesson, but at the same time, there are few to no indicators whatsoever in that scene to clue in the audience to even check for something like that. It comes at the end of an episode where most viewers would have been paradoxically tired out and driven abuzz by the revelations of Amity and Willow’s relationship, doesn’t attempt to draw much attention to itself, and frames itself as a comedic subversion of audience expectations with neither the “greatest witch who ever lived” or the self-proclaimed king of demons being picked by Gus.

Instead, he picks someone that the show portrays constantly as an oblivious and gullible idiot after being described as a “state of the art defense system” at the very beginning of the series. Someone who, despite it being played for laughs, is scarily capable of casually subduing Lilith offscreen one episode and then beating her and an entire squad of Emperor’s Coven members without even the slightest change in personality or temperament.

Someone who, due to being the Owl House itself, could be considered the titular character of the entire show, yet is taken for granted by those who inhabit him and barely gets any respect from even the cutely patronized King - including when Hooty could be interpreted as having potentially been full on DEAD for a time given the use of extremely cartoony X eyes and a lack of vital signs in The Intruder.

And someone who Eda at best tolerates and at worst abandons in personal interactions and only occasionally acknowledges him when he’s actually doing his job. Yet at the same time is so implicitly trusted beyondprotecting her home to the point where - when up against the closest person Eda has to an equal outside of likely Belos - the only actually recognizable spells Eda used in combat were 1) stereotypical energy blasts, 2) a single shield spell in Covention, and 3) a noticeably large reliance on imitations of Hooty above any other spells she could have decided to use instead.

In short, the show repeatedly tells us he is just an idiotic gag character through and through, but at the same time demonstrates he has immense power through both onscreen and offscreen demonstrations, implicitly tells us his importance ahead of time through Eda’s imitations in actually serious situations, and treats his interview and origin story as - if not even more- important to keep secret than a long lore dump about how Belos’ reign works.

After all, there being only two instances of hidden background dialogue in the entire season is already intriguing on its own, but for one to get plenty of clues to draw in people’s attention and for the other to be treated as just another gag about a “mere comic relief character” - aka a good way to draw away attention and lower one’s guard - heavily suggests a far deeper significance buried under layers of misdirection, comedy, and conditioned audience expectations.

I mean, when Eda bragged about being “a bad girl living in a secret fortress,” Hooty followed with a remark about how “I’m the secret.” While that line may sound like Hooty simply being confused as part of a one-off on the surface, it’s an odd dialogue choice for the writers to pick when you think about all the other reminders of his nature as the house itself throughout the season. With the precedent these moments set, it would have been much more appropriate for him to latch onto the “fortress” side of “secret fortress” AND it would have been just as equally funny of a joke about his awareness skills, but instead, Hooty broke away from the established trend to say something that would make people suspicious were it to come from anyone else.

In a way, this reminds me much of the many subtle bits of foreshadowing strewn across the show, like Luz unknowingly describing Amity in Witches Before Wizards and Eda burning a hole through Luz’s coven type quiz that coincidentally selected the same track she had taken at Hexside as “a punky potionist.” At the time of airing, these initially seemed like one-off jokes, but eventually came back in full force several episodes later with Amity’s hidden sensitive feelings and love for the Azura books becoming clear in Lost in Language, and the reveal of Eda’s school track in Something Ventured, Someone Framed with her school misdemeanor pictures.

That said, compared to these individual bits of minor foreshadowing, the jokes about Hooty in Understanding Willow appear to simply be the most obvious pieces in a giant puzzle, implicitly and outright telling attentive viewers that there’s a major mystery to be uncovered here.

In fact, I feel bold enough to say that we could be looking at a twist on a similar scale to that of the Pink Diamond/Rose Quartz and Stanford Pines twists in Steven Universe and Gravity Falls respectively, what with this particular puzzle piece coming from how Gus wanted to make THE greatest interview of all time, and how he was looking for someone who was “interesting, accomplished, AND noteworthy:”

Note the emphasis on the ‘and’ here, as Gus had made a big deal that “people aren’t meantto be all those things” at the beginning of the episode, so as a result, stripping away all the comedic framing of his subplot leaves the intriguing implication that whoever - and, perhaps, what- Hooty is, they really are the most interesting, accomplished, AND noteworthy person out of everyone.

I could go further and talk about why I suspect the mystery surrounding King’s origins, whether true or not, is partially meant to misdirect us from paying attention to Hooty, or how the TOH crew’s could be disguising legitimate clues to his nature among made up and highly meme-able joke answers in order to proliferate said concepts throughout the fandom - thus letting us do all the dirty work of getting ourselves used to the ideas and used to dismissing them at the same time - but to bring things to a close for now, I’d like to leave you all with a question that I’ll start answering next time:

What does it mean when both the most powerful and notorious witch on the Boiling Isles and the possible actual king of demons/the Titan itself/something don’t match up to a house? And what do you think it is that makes him so special to warrant such misdirection?

TLDR: Between Eda’s golem spells, the show stressing his nature as the titular house, his implicit strength, and the odd dialogue and structure of Understanding Willow‘s subplot in relation to him, I believe I have good reason to suspect the show has been giving us many hints towards Hooty being much, much more important than it would like us to currently believe or even joke about. Particularly, through clever uses of comedy to establish and enforce a strong audience bias against looking closely at him or unironically taking him seriously, and to potentially plant the seeds for something I will start exploring in Part 2.

[loquaciousquark]

Talks Machina Highlights - Critical Role C2E111 (Sept. 29, 2020)

@eponymous-rose‘s internet is out tonight, so I’m here late and without coffee! Let’s see how many typos we can fit into an hour and a half episode.

Tonight’s guests: Ashley Williams JOHNSON, oops!! & Liam O’Brien!

We open with Brian in light-up vented sunglasses and Henry at his side, as always. Dani is very excited to be back and has fun-buns in her hair tonight. So cute! Everyone talks about how much they’re Zooming these days for work, and Liam mentions he and Matt & Marisha did a digital cocktail night. He and Dani arrange on camera to have a distanced, masked meetup in the park so Dani can see Liam’s dog again.

No announcements! Tonight, we’re discussin’ episodes 110 and 111.

Starting with the end, Brian jumps right to it by asking how they feel that Molly is alive. Liam 100% thought we’d be back to him, but still wasn’t ready when it happened. Caleb doubted he was alive. Both Liam & Ashley marvel at the numerology that keeps cropping up throughout the show. Brian hates not being able to see it at the same time the show happens live; Ashley was biting her tongue not telling him spoilers. (He doesn’t want to hear spoilers unless Yasha dies so he can be there for Ashley if needed.) Brian says he has a little reality trauma from the night Pike died in the pre-stream game; it was the first time he’d realized how much it affected the players.

Ashley’s realized how much she misses unpacking the game with Brian when they get home. She just has to sit with it until everyone else gets to see it. Brian: “Instead she comes home and I have to fill her in on the Real Housewives of Amarillo, Texas.”

Reunion dinner with Trent! Liam talks about how the way things unfolded with Trent is not at all how he imagined it in his pre-game creation; he’d expected more of a fracas, more of an unexpected clash. “Caleb might have been a different person if he’d run into these people earlier in the story. The M9 changed him before [Trent & co] came back and got to him.” He’d imagined Astrid & Eodwulf to be complicated encounters, but says what Matt’s designed has been even harder than that. A fight on a mountain is one thing, but walking into a room with “what Trent dropped, is impossible to cope with.” It also means that if what Trent said is true, anything Caleb does now is effectively of Trent’s design, even killing him.

He doesn’t think Caleb would have gone anywhere near Trent & co without the M9. “The Mighty Nein--it took a long time--but they cracked Caleb open like a walnut.”

He thinks what Matt has done is much more murky than the simplicity of murder, such as the Briarwood arc. He can’t just exact his revenge now.

Liam says that the tempation to tinker with time is no longer as all-consuming as it was. He might still be tempted if Matt dangles a bunch of carrots in front of him, but he thinks that now it might be better to make sure that that kind of thing doesn’t happen anymore for anyone else (!!!). “It’s still a nugget in his brain and it’s still possible he could be tempted by the drug, but what he wanted in the beginning was entirely selfish, but now that the M9 are involved he owes it to them, to the people of the country, even on the Dynasty side--is so complex that if Caleb were to get that carrot and chase it, he would be risking everything.”

Ashley agrees that most of their choices are no longer black and white. Many of the situations feel more like real life. Liam agrees and says he’ll sometimes make decisions that he’s both really happy with and regrets at the same time. They both look forward to what Matt will reveal in Act 3.

Brian feels it’s tough to gauge how deep they are into what Matt’s planned for the campaign. Liam says that thanks to Matt’s skill, he really doesn’t know what Caleb wants right now.

Ashley agrees, and talks about how she created Yasha to have more to overcome than Pike. She loves what Matt’s doing in terms of allowing each of them to overcome more emotional hurdles than physical ones in this campaign.

Going back to Molly’s grave was very exciting for Ashley since she wasn’t able to be there when he died in the game & wanted to do what she could to honor him. Yasha, however, was very hesitant but knew what needed to be done. She’s not very open with her emotions, but both she & Ashley were stressed. They all could feel the energy in the studio & knew Matt was about to do something mind-blowing. Liam: “You could feel all the dust in the air coalescing around Taliesin.”

Brian trips over Eodwulf. Liam tries to help him find some pronunciation shortcuts. Ashley: “You say it so beautifully.” Brian: “Thank you.” Ashley: “Not you.”

Caleb knows how wickedly intelligent & ambitious Astrid is, and was heartened by the wavering he saw in her at the dinner. However, he can’t trust her until he knows why she’s where she is.

He really feels that if they’d had this dinner 60 episodes ago, Caleb might have tilted back along the evil axis and he would have had to retire the character. He had a playlist entirely for if Caleb turned evil and left the party.

The vision of Zuala was a huge deal for Yasha, even along every other instance she’s had of being mind-controlled, etc. “That’s guilt I think she will always carry with her, but at least she’s starting to forgive herself.” Losing the chains, sprouting wings again--Ashley reiterates that she didn’t know that was even a possibility, she just picked the skeletal wings because they were dope--were huge moments in the character development. Ashley’s glad Beau was there at the moment of the first flight; Ashley thinks of the quotation “Happiness is only beautiful when it’s shared,” and because Yasha tends to keep things very much to herself, having someone there to share it made it more impactful. “That was a cool moment. There’s been a lot of healing for Yasha these last episodes.”d

Ashley also says sometimes in that moment, when all eyes are on you in a one-on-one with Matt, everything goes muffled like Saving Private Ryan. “Wub wub wub.”

Dani feels that the only way she could even have the conversation with Zuala was to let her go in the first place.

Liam thinks one of the things that Yasha & Cad share is that still waters run deep. He loves how much Yasha hangs back sometimes, only to then reveal some new moment like the fighting pit. Apparently Ashley also has a knife collection, and uses that metal side of herself when she wants to let that new side of Yasha show.

Cosplay of the Week: Crystal Armstead (@riyuski on twitter) in a Reani cosplay. Beautiful!

How does Liam feel about the return to Rexxentrum? Very, very complicated. Caleb loves magic and lights up when he sees it, which is wrapped in the Soltryce Academy; he brought folks to the dance hall for the same reason, which was wanting the M9 to see the things that he loved about the city.

Yasha felt the same way about visiting the Chantry of the Dawn. It was a memory of a very traumatic moment (almost killing Beau), but given everything that’s happened between then and now it was cathartic to see again. There’s been a lot of healing in the past few weeks. It also felt like a physical representation of Yasha’s growth, the last time she was controlled against her will like that (or at least, until she was mind-controlled by Vokodo. Ashley sighs, aggrieved.)

Brian: “The tower really feels like a love letter from Caleb to his friends.” Liam: “It is, and a love letter from Liam to his friends.” When he looked at Caleb’s spell list, he remembered how amazing the mansion was in Campaign One and how many role-playing moments it led to and knew he wanted to incorporate it. However, he knew it could never be the same as Scanlan’s mansion because Caleb doesn’t have the same improvisational genius as Scanlan does. Liam has been “tinkering with this machine” for over a year, waiting for the moment to reveal it. He loves that he got a chance to see Jester’s room in time to have her tower room reflect reality. He’d discussed the tower extensively with Dani & Matt. Brian: “Hey! What am I, chopped--what’s the saying?” Ashley: “Chopped cabbage?”

Ashley marvels at the design of the dome. Liam talks about how Caleb knowing Caleb has been abused has been slowly getting better, but he also loves now being able to juxtapose that healing with his innate love of magic and how beautiful he finds it, how he loves to use magic as his artistry. The Soltryce Academy wasn’t “Welcome to DEATH SCHOOL,” it was the Sorbonne. It was amazing, everything he wanted. It was only one bad apple within that recruited him and turned it all bad.

Liam also points out how much it means in real life to be able to express his love and care for his friends in person too.

Ashley talks about how much she loves Yasha’s armor in a meta sense because it’s so cool and useful, and great for her armor class, but struggles with what it represents in game. She might not be able to let it go due to its sheer utility, and she may have to find an in-game reason to justify keeping it.

Ashley segues a moment into talking about her velvet top which apparently has a matching velvet scrunchie. She’s asked to demonstrate the scrunchie and ties her hair up in a way that I have never in my life seen someone do with a scrunchie before, and my hair’s been waist-length most of my life. I watch it again in slow motion. How did she DO that??

Caleb’s been looking for the right time to tell Jester about his past for a long time. She’s a good person and makes him feel like he might be capable of becoming a good person at the end, because that’s how she saw him. Liam knew from Laura that Jester wouldn’t condemn him, but Caleb put it off as long as possible. He also wanted to take the time to make sure Caduceus & Yasha knew the whole story too before they went to dinner with Trent.

Liam was also relieved to get it out, because he could never remember who knew and who didn’t, and now he doesn’t have to track it anymore. “Now we can move forward. Now we can heal wounds, maybe.”

Ashley feels Cad picks up a lot, more than most people realize. Yasha was really affected by Cad’s line: “Patience can be good, but it can lead to apathy.” She really feels it opened her eyes, and she appreciated the simplicity of him pointing out her hair’s growing back white again. Having a friend notice “hey, you’re changing for the better” really means a lot. She’s interested in seeing how this means things might change with Beau.

Dani points out that it also reinforced for Yasha that she can want things too--she can be patient and just continue to be with the group, as she’s wanted, but it’s okay to want more than that too. Ashley remembers Veth asking her what her purpose is. There’s a part of her that knows Yasha is still figuring that out, and she’s interested to see how Yasha will continue to change. She’s always spent her life serving somebody--the Sky Spear, Obann--and then even after she joined the M9, it was very centered on “what do you need, what does the group need, how can I help with our next job?” She’s going to have to take some time to figure out what she wants.

Fanart of the Week! Lovely Yasha & Beau flight art by @JMNP7888. The wings look amazing!

Brian: “One of the things we want to talk to you about, Liam, is about the Vokodo fight and the FUCKING disintegrate spell.”

Liam: “That was one of the most insane 60-90 seconds of gameplay that ever existed for the table, and definitely for me, in the entire history of the show. A lot of people think I just went, oh man, just bet it all on black. But what if I told you that...I Larkin’d the first 20 seconds of that fight and then at a quarter to midnight, I forgot that the reflection was a thing? I just forgot it was a thing! I spent that whole battle thinking I’m just here to banish things. I might buff my friends a little bit, maybe I’ll counterspell, but I’m just here to banish. And it didn’t work and it didn’t work and then it did! Finally it did and Jester made it work and then he was GONE. And then everyone got greedy and it was done but we brought him BACK. And it was a quarter to midnight and I’m not an animatronic D&D lesson machine, I’m just a guy playing D&D at 11:45 at night, and he came back and everyone started Goodfellas circling him and kicking him, and Beau & Yasha are gonna kill him, and then it’s my turn? Disintegrate! And then the room was quiet, and then time passed, and Matt asked, you really cast Disintegrate? And I said yes, of course, and Matt started rolling dice, and in the back of my head I started wondering why he asked if I was rolling Disintegrate. Oh no. In the back of my brain, I was like, well, just tell him that’s not what you did. Tell him you didn’t remember the reflection thing. But he’s already rolling dice! You can’t take it back now. Hold on a second. I’m going to take you on the journey I went through. I was thinking: you have a spell save of 17. This thing wasn’t that fast. +1, +2, maybe? Anything under 14 is okay. That’s 70%. 70%. That’s okay, right? And still no one said anything to tip me off that I was in ELDRITCH MADNESS at that point, no one said anything about the reflection! And then I realize it can reflect back on us, and I realize this is...disintegrate. And then I started becoming morbidly, macabre-ly fascinated at the puppet dance of death I had created. Well, this is a mess. I have made a mess. Let’s just sit in it. And somehow, nonsensically, spectacularly, it worked out in my favor. I went home that night and I got in bed next to my wife, who was fast asleep, and I stared at the ceiling going, dude. Duuuuuuuude. Duuuuuuuuuude.”

He apparently also told his therapist about this and how terrible it was and how close he “danced myself to the precipice like a crazy person!” Marisha (as told by Liam): “Epic roll, though.”

Matt told Liam that night that if it had been reflected, it would have gone back on him. “If a player throws an M80 in the middle of a room, it would reflect on that player who threw it.”

Ashley talks about how interesting that Yasha is not performative, and yet has been doing these public performances with the harp. It’s a great experiment for Ashley--Yasha doesn’t like the attention, but feels like she is making something beautiful for the world.” She’s trying to change something about how she views herself & her place in the world. She was raised to be a weapon for the Sky Spear, but she’s also extremely gentle and loves flowers & beautiful music, and the further away she’s gotten from the tribe, she’s falling in love with gentle, beautiful things. 

Liam also points out it easy (real, but simplistic) to make an entire character centered around a single personality trait: “I’m angry all the time. I’m sad all the time.” He thinks it’s more realistic to see nuance in personality.

Liam can see some paths for Caleb to find peace & do good. He doesn’t know if Caleb is conscious of those. He thinks it’s a huge step forward to admit he was molded in this direction at all and that it wasn’t all his choice, but doesn’t know if this is the same possibility as redemption.

He also mentions Essek in this answer: there was/is attraction there, both intellectual and physical--the forehead kiss was a big marker of that--and he’s interested in seeing where that goes because he’s invested in Essek’s redemption arc on its own, but Essek is not as high on the list as other things Caleb/the M9 need to work on. He loved the “high spy times” of the Essek arc and the tangled-up-ness of feelings getting involved at the same time as intense commitment to duty.

Liam always felt Matt would bring Molly back in some aspect, even though Caleb always demurred because he doesn’t believe in fate. Dani and Brian agree that this is the start of a new act.

Ashley cried at the Vilya reunion. She thought that was an incredible moment and was so glad to see Keyleth. Liam: “Keyleth as part of our story is everything to me. That story is really important to me, so getting just a glimpse of her again was so important to me.” They could all see how that affected Marisha & how special it was to her. Liam: “It was such a great note in her song or color in her painting. She achieved magnificent things and was powerful and great, but had a very heartbreaking and sad ending, so to have this sliver of joy go back in is so complex and beautiful and masterfully done.”

Aaaaaaand that’s all for tonight! Remember, no Critical Role this week. Talks will be back in two weeks. As always, don’t forget to love each other. <3

[writcraft]

Hello! How would compare and contrast Snarry vs Drarry? Since you have (beautifully!) written both, I’d love to hear your thoughts on the dynamics of these two ships. Thank you!

Hello Anon, thank you for this lovely message and what a topic!

I have set out below the cut why I think the dynamics differ but also some of the similarities and it got very, very long. Yikes.

DRACO

Draco is privileged, from a wealthy, pureblood, old wizarding family and immersed in magic from childhood. He's the kind of popular where he has his crew and doesn't really care if the Gryffindors don't like him, he is athletic and bright and he is described in a way that suggests he is attractive. Up until the point things really start to go wrong for Draco, he leads a relatively charmed life. He is a product of his upbringing, of his upper class status, he experiences a childhood where he is spoiled, loved and doted on, albeit he appears to be subject to high expectations of academic excellence and sporting prowess. With his friends he appears to be something of the ringleader and generally liked. He gravitates towards Voldemort because it's really all he's known, he's born into it. At first it seems Draco's views are driven by his desire to protect the things he values (wealth, status, power) and the privilege he has become accustomed to and, in the end, he sticks around primarily out of fear and self preservation. Draco exhibits moments of cowardice.

SEVERUS

Severus has an entirely different upbringing. He is working class, has a tense relationship with his parents, he is disliked and bullied at school which leaves him isolated, he gravitates towards solitary intellectual pursuits and he is described in a way that suggests he is supposed to be unattractive (although this reader would argue he has a certain magnetic charge). Lily aside, his relationships as a child seem to be shaped by a fascination with the power that comes with wealth and elitism, something he has never experienced. Sirius describes him as Lucius Malfoy's 'lap dog' and it is telling that Lucius is much older, a Prefect when Severus starts Hogwarts. He is radicalised in a way and gravitates towards Voldemort through a greedy hunger for power, a desire for revenge and a desperate desire to change his lot in life. He stays because, well, we all know why he stays. Severus is brave but grudgingly, acerbically so. The deepest insult he confronts is being called a coward by Harry.

FIRST ENCOUNTERS

Aside from the differences in their characters, the way Harry encounters Severus and Draco is completely different. When we meet Severus in canon, he is bitter, angry, jealous, grieving and indebted to Dumbledore. He is also in a position of power as Harry's professor. When we meet Draco, he is Harry's peer but he is also full of himself, an arrogant little shit who thinks the world is his for the taking and he thinks very little of Dumbledore, because father says...

This shapes Harry's encounters with them both. Severus approaches Harry with animosity, venom and a legacy of hurt that Harry doesn't yet understand. Severus places no weight on Harry's celebrity, he actively resents and despises it. Draco, by contrast, values Harry's celebrity initially. He wants to be friends with the wizarding world's brightest star and the animosity that follows between them flows directly from the sting of Harry's initial rejection.

ONGOING RELATIONSHIP

Severus wilfully misunderstands Harry. He draws connections between Harry and James based solely on their striking physical similarities and (incorrectly) ascribes the characteristics of James to Harry. He is tasked with protecting Harry but he does so always through gritted teeth. The curse of Severus Snape is to spend his life protecting someone who represents everything he despised as a child and yet the only person who can give a dying man that last connection to his one true friend.

Draco sees Harry more clearly but his perspective is shaped by jealousy and the sting of that first encounter, which leads him to make fun of Harry's circumstances and the people he associates himself with. He doesn't misunderstand Harry in the way Severus does, but he also doesn't know him fully.

MAGICAL CONNECTIONS

The magic that connects Harry, Draco and Severus is fascinating. Harry famously uses Sectumsempra on Draco without knowing what impact it will have. He then intentionally uses the same spell on Severus (unsuccessfully) knowing exactly the damage it will do. Not only does the use of the spell in both instances show us a darker side to Harry, but the spell was also created by Severus and he is the one that helps Draco after the spell has been cast. I could write an essay on the links this spell creates between those three characters.

Expelliarmus is another one. Severus teaches Harry this spell and in doing so, equips him with his most powerful tool in the fight against Voldemort. Harry disarms Draco of his wand and the implications of that in terms of the final battle are intrinsically connected to the 'signature move' of Harry's in battle, which is all about gaining possession of the wand of the attacker as opposed to trying to target the attacker themselves.

Avada Kedavra is also something that binds the three of them. Harry witnesses Draco failing to cast the Killing Curse, and simultaneously witnesses Severus easily casting it. This also is part of the broader relationship Harry, Draco and Severus have to Dumbledore. Harry and Severus are willing pawns in the master plan but neither are fully equipped with all the information they need. Draco ends up unwittingly being part of the plan but he is never a soldier of Dumbledore's Army in the way Harry explicitly is and Severus, with a gnashing of his teeth, also is.

Finally, one of the important similarities between Severus and Draco is they are both skilled Occlumens, something Harry is notoriously rubbish at. This skill suggests both are better able to bury and compartmentalise their emotions whereas Harry is unable to do so with any success and this plays into the fact that in both ships, Harry is likely to be the more demonstrative, wearing his heart on his sleeve in a way both Draco and Severus can better disguise/suppress.

DIFFERENT DYNAMICS

With all of the above the dynamics between Drarry and Snarry will always have a different slant, even if Harry himself is essentially the same. By way of sweeping overstatement, Snarry tends to skew darker and heavier because there is much more to overcome, but by contrast Severus has also spent his 'canon' years protecting Harry which creates this bitter 'Guardian Angel' type dynamic that, if you ship it, can be intensely romantic when they encounter one another again as adults.

The age difference lends itself to different dynamics too. Harry and Draco have that potential for young, dumb and in love, working things out, exploring, eighth year and spin the bottle sort of stuff that Snarry doesn't really have in the same way. It feels more natural that Harry and Draco would encounter one another as peers from the same year group, so part of the battle with Snarry is working out how Harry and Severus end up in the same spaces together in adulthood (Snape's canon death being a pesky inconvenience). The age difference raises another important difference in dynamic too, when it comes to the experience of Severus and Draco as gay or bisexual men, if you apply Muggle attitudes to same-sex relationships that have shifted over time.

The age difference is also relevant because there is a capacity for Draco to change his ways as he grows up, but Severus has already long changed his political beliefs and we know Severus as an adult in canon. That's not to say adults can't change their beliefs of course, but because his adult character exhibits moments of real cruelty you have a challenge around how this irascible, often mean, sharp-tongued character can give Harry what he yearns for when it comes to affection, love, family, security and so on.

There are hurdles to overcome with both ships and although the core 'enemies to lovers' starting point may create a similar overarching dynamic, the roots of those hurdles, the scale of them and the ways and ease with which they get resolved will differ because ultimately Draco and Severus are very different characters with quite polarised life experiences. They have some similarities, Occlumency aside, such as fostering beliefs during childhood they reject around the same time in their lives, albeit for very different reasons. Both are Slytherins who, their magical skills would suggest, are capable of pushing their emotions down in a way Harry can't, when everything for him is raw, on the surface, now, even though they both also unleash their emotions at various points. They are both prone to dramatics, to anger, to pettiness, to humour and in many respects, Harry is prone to those things too. In general though, I believe Draco and Severus would approach a relationship with Harry quite differently.

I don't think there's any one easy way to pinpoint the different dynamics in general because there is a huge variety of ways these three can be presented in fanfic, with its own plot, worldbuilding, external factors and so on. There are so many different directions you could go in with Snarry and Drarry so I'm only speaking from some of the things that strike me not only about the Severus/Harry and Draco/Harry connections/potential hurdles but also about the links between the three of them. Ultimately I think there is opportunity for deep connection, discovery, levity, passion and of course, delicious angst and UST with both ships, but they tend to manifest a little differently for all the reasons outlines about.

There's so much more I can say, but I'll leave it there. Thank you, Anon!

[itsclydebitches]

One thing about the whole "family" thing in RWBY that I think about is how we skip over entire semesters between Volumes 1-2 and 2-3. Between those times we are supposed to believe team RWBY become this super close team who have combo attacks and are as close as sisters (and even be in lesbians with one another for some), but all of that bonding is implied to have happened in off-screen or non-canon events (depending on how you view the various comics & books).

It’s far from the first time that RWBY has pushed crucial character development off screen. Granted, Team RWBY's situation overall isn’t nearly as egregious as, say, Oscar disappearing after Jaune attacks him and coming back with a totally new outlook on his situation, but it’s still not great. I think the fandom as a whole is very lenient in regards to the group’s found family-ness because, in true RWBY fashion, we’re encouraged to fill in the blanks with whatever we’d like. Some aspects that stand out to me include:

We’ve been given some pairs that aren’t just partners, but are duos who are pretty much joined at the hip. Yang and Blake seem so close, or Nora and Ren seem so close, that their dynamic presumably just seeps into the team as a whole.

This is particularly the case for duos who, at the time of the material airing, have never interacted in any meaningful way. Some fans pointed out how weird it was for Yang to hug Ren post-Apathy because she doesn’t have a relationship with Ren; the show acts like we should be emotionally invested in their reunion, when in reality we don't yet know anything about how they'd interact. We’re just supposed to assume the closeness is there because they exist on the same team.

The show put a lot of emphasis on partners at the beginning of the show, then dropped it, but fans still read those duos as maintaining that connection despite a severe drop in scenes together. This is most notable with Weiss and Ruby. Yeah, they spent a lot of time together and had a number of bonding moments back at Beacon. But then Weiss went home, Ruby traveled alone, and they’ve hardly had any notable interactions since. (My mind is mostly coming up with Volume 6 stuff like “Ruby carries Weiss off the train in her petal form” or “There’s that moment when they find beans to eat.”). I’ve seen numerous fans insist that they’re just as close as they always were, but the point is we’re no longer seeing it.

The show introduces personal challenges for the group and then never appropriately resolves them. Yang makes no mention of fighting with Ruby when they reunite—she randomly became worried that Blake was mad instead. Ren doesn’t get to work through his intense disagreements over how things are done on this team—he’s randomly told he’s being too closed off and apologizes for that. Weiss’ racism was dropped for four volumes and concluded with a quick apology in Volume 7, long after the show was acting like it no longer mattered. Blake and Yang killed a man together, but don’t get to work through that in any meaningful way. The story is riddled with instances in which the group’s bonds are challenged, but then those conflicts are either dropped or inexplicably turned into something entirely different, something that can be easily fixed. At the same time, the story bypasses so many potential moments of tension (such as disagreeing over Jinn’s vision) that they feel less like a close-knit, diverse team and more like Generic Protagonists moving along for the sake of the plot.

The team is just too big. It’s absolutely possible to write that compelling, found family storytelling with a large cast, but RT is failing to manage all the pieces.

Real quick as a way of demonstrating that, here’s a Criminal Minds scene where the team of seven (just one less than RWBY!) are all bonding and growing closer over a meal.

(For the record, I can't remember if I've used this example before... but I'm using it again! lol)

Some highlights:

Rossi is giving a cooking lesson after being lovingly bullied into it. This gives us some insight into his hobby, his heritage, and even just the house he lives in.

Garcia gets really into the metaphor, a distinct mark of her personality—“So your hands must be brushes.”

“Don’t interrupt”—we continue that teasing and the ‘I’m annoyed but not actually’ response that Rossi is known for.

JJ and Emily both give shocked, little laughs at the exchange. Hotch gives a rare smile. He's the stern, seemingly unapproachable member of the group, so seeing him relax like this is a rare treat for characters and audience alike.

We see them interacting with the cooked spaghetti differently, from grimacing like it might be a worm to heartily taking a bite.

Garcia is still so invested in the lesson she hardly notices the strand she’s still eating.

Hotch unexpectedly demonstrates cooking knowledge by warning them not to burn the onions—“Barvo, Aaron!”—and he gives his smug little, ‘Yup, I know what I’m about’ nod in response, along with a knowing look at JJ. Audience and cast just learned something new about him.

Rossi gives another playful yell as JJ tries to drink her wine. It’s not time yet!

Reid shows up and is a little awkward about it. He wasn’t sure if he’d be joining them after one of his many rough patches. Rossi alleviates any tension by putting on that ‘I’m annoyed’ front again, which helps to normalize the situation.

Emily is all, ‘Wine please??’

Then JJ joins in and Rossi finally allows them to drink. Everyone gleefully toasts while conversation and light laughter starts up as we fade to black.

When Rossi says, “We start at the beginning. You eat what you cook, I’ll supervise, and we’re going to do this all together, just like a family” I believe him! This scene, a mere minute and thirty seconds long, does a fantastic job of clueing us in to everyone’s personalities, their individual interactions, and the ease with which they function as a unit. I think the only one who gets the short straw here is Derek, but he’s wonderfully developed across the rest of the series. Granted, Criminal Minds is a 45 minute, episodic show, which certainly makes it easier to do this kind of character work… but RWBY has its designated moments like the Haven dinner scene. Compare the two and the difference is pretty glaring imo. The group re-tells the plot of conflicts we’ve already seen—we don’t learn anything new about them—and their reactions to these stories are uniformly wild laughter. From the outgoing Ruby to the more reserved Weiss, everything that happens generates a literal laugh-out-loud response from everyone at the table. The only times we get a hint at individuality and unique interactions are a) when Ruby has to clarify for Ren that she means “out of control” in a complimentary way (which, frankly, is a lack of understanding I don’t think Ren ever demonstrates again) and b) when Weiss gives Nora a jump scare with her new summoning ability (which is the exact kind of trick Nora gag that Yang will do in a moment with her arm.) Little of it feels natural or individualized, which doesn’t help to sell the larger idea that they’re the closest team ever whose love for one another overcomes challenges like the Ace Ops and will, presumably, save the world. It’s not horrible writing, just not nearly the same standard of other found-family storytelling. And in an age where large casts with that close-knit dynamic is quite common, RWBY has a lot for viewers to compare it to.