#but just doesn't have an established story beyond this point

[outoftheirdifferences]

And heeeeeere’s the ramble (I mean, backstory) for Lauren, my OC, that I promised!

A reserved girl. Closed off, often cold to those around her - but hiding a bitter and fiery anger that often bubbles just below the surface.

Not that you’d know it at first glance. Watch her at school, around her friends, and Lauren Salvage just seems like any other normal teenager. She enjoys the company of classmates Amy and Gavin, animal-loving older student Nina, and especially young Rachel; she complains about schoolwork with them, laughs at dumb jokes with them. Sure, she’s visibly a little rough around the edges: she doesn’t hesitate to say what’s on her mind, doesn’t pull any punches, and can sometimes make others uncomfortable by doing so. But that doesn’t mark her as that odd, does it?

Only... then there are the other times. The times when she’ll unthinkingly make a comment so full of bitter resentment that it kills the conversation dead and leaves even her friends reeling. The times when she’ll blow off even most of them when something really sparks off that anger and pisses her off. Or the times when, if she’s made exceptionally mad, she’ll turn and fling a hefty punch at whoever had goaded her to that point.

And, of course, once that point is reached things rarely stop at one blow. Of course, the person she hits will invariably hit back. Several times, Lauren has found herself brawling in the dirt with other schoolmates, taking as many bruises and beatings as she gives out, until her friends or teachers are able to intervene to pull them apart. No matter what explanation is demanded, Lauren has always remained sullenly silent; as far as she’s concerned, her teachers would never understand, they just want someone to blame for the fight, so why should she bother?

Her bolder classmates have made it something of a game to taunt her over anything and everything they can think of, trying to find just what it is that's guaranteed to make her snap.

And in truth, there’s only one thing... well, two, the other being threats to her friends, but PRIMARILY one... that ever gets to her that much, makes her that mad that she loses all self-restraint and unleashes the buried depths of her rage...

And that’s the subject of family.

See, Lauren’s relationship with her own family is... next to nonexistent. Being conceived out of an irresponsible fling at a wild party at university wouldn’t have been a good start for anyone - and was a situation made immeasurably worse by her maternal grandparents, who showed their 21-year-old daughter Charlie no understanding or compassion and took instead a you got into this, it’s your own problem stance regarding her unintended child... while Jacob, the other participant, had already gone on to graduate and skip town before learning that anything unexpected had come from that night.

Though she already loved her unborn baby, the stress took its toll on Charlie; and by the time Lauren was born, she was close to breaking point. Add in, in due course, the abrupt disappearance of her older sister, the only family member who’d had Charlie’s back through the difficult time, and it became far more than she could handle. Though she loved her daughter more than anything and wanted nothing but the best for her, Charlie had to face the fact that she couldn’t provide that best.

Finding Jacob Salvage’s current address, a small apartment in the heart of the big city, she sought him out. As the child’s other parent, Charlie convinced herself that he would surely give Lauren the care she couldn’t. And so, without preamble, she deposited the three-year-old redheaded bundle into his arms, and vanished from Lauren’s life.

Lauren, however, doesn’t know most of this story. All she remembers is the events of the last sentence, and them only vaguely.

And it wasn’t as if her life improved from that point. Jacob had never wanted children at all, and had neither the first idea how to look after a child nor the inclination to learn. While he has provided for Lauren ever since, and has never deliberately treated her badly, his is a very detached, hands-off approach, treating her more like a distant - albeit dependent - roommate who he has no particular interest in getting to know.

As such, Lauren has grown up starved for parental affection, knowing only that her mother walked out and her father doesn’t care; this has made her bitter at the world in general, and resentful of other kids who have easy family lives in particular. She doesn’t act out specifically, at least not deliberately, but this spitefulness lurks in her heart at all times; so rub her lack of caring family in her face at your own peril, for THIS is the thing that, without fail, causes her to snap and lash out.

As such, aside from her few close friends, Lauren has very little time for people her own age. Her favourite hobbies are generally solo activities; she likes to catch the bus out of town, find a secluded spot in the countryside or the woodlands, and just sit on her own, surrounded by nature. She likes to learn about the wider world and dreams of some day visiting the most desolate, wild, and beautiful sights that nature has to offer. And she likes to write, penning out wild fantasy adventures involving herself and her friends that she would never dream of showing to anyone.

And, deep, deep in her subconscious where even she isn’t aware of it, she longs for a caring mother figure in her life.

---

And then there was the point at which everything changed.

That one day. Late autumn in her fifteenth year, when she was leaving school after yet another fight had earned her several hours of after-school detention--

-when, out of the gathering darkness, she was thrown to the ground. Spoiling for a fight, Lauren rounded on her attacker - only to find, not a schoolyard enemy looking for some easy revenge, but a woman she’d never seen before. A woman with a creepily disjoined, spider-like posture, who revealed herself to be a trained assassin and who proceeded to toy with Lauren like a cat playing with its prey. She beat the girl into the ground, overpowering her clumsy brawling easily to restrain her, pinning her in place and savouring Lauren’s most intense fear - the fear of being rendered so helpless.

Lauren had been sure it was over for her right then and there - but whatever the Assassin’s plans, they was thwarted just in the nick of time. A passer-by had seen the fight and called the police, and the nearest officer to the scene, Officer Danni Ashland, came charging to the rescue.

The rescue went badly. History, it seemed, existed between the two women; and the Assassin pinned Lauren in place and proceeded to gleefully taunt, threaten and tackle the officer, impaling Danni’s shoulder deeply with a brutal knife. Despite the wound, Danni fought back tooth and nail... and, with the Assassin so occupied, Lauren managed to free herself. For once in her life too badly shaken to fight, she instead fled into the night.

((Though Lauren doesn’t know it, the fight was brought to a swift end. Officer Danni had had the foresight to call in backup, and within minutes of Lauren’s departure more police were all over the scene and had the Assassin in custody. Being an escape artist, it is unlikely she will remain there for long. Meanwhile, Danni has made it her personal mission to track down Lauren for herself - both to protect her, and to get to the bottom of the reasons behind the attack on her.))

Stopping by home just long enough to gather her savings and her personal belongings and throw a brief explanation at her dad - who was as disinterested and noncommittal as she always resented him for being - Lauren caught the next bus out of town. Clearly she was in trouble, and the police couldn’t even protect themselves, much less her; so the best thing she could do on her own was vanish. She has no plans on where to go, her only thought in mind just to keep going, to remain on the move, go as far as she can - and, well, it isn’t lost on her that this is perhaps, finally, her chance to see more of the world as she’d always dreamed of, since she's travelling anyway. As a girl who always hated the oppressive atmosphere of the city, it’s a chance she relishes.

Still, the attack haunts her. The feeling of being restrained and helpless haunts her. And, more than anything, not understanding why she was singled out haunts her - though the Assassin’s words had certainly made evident that the attack was far from random, and that she was, in some way, significant.

Lauren wishes she understood why.

---

As to physical appearance; Lauren has some musculature built up through her brawls, but is otherwise a generally scrawny girl of about average height for her fifteen years of age. Her most distinctive features are her hair, which is a very vivid ginger cut untidily at about collar-level, and her deep brown eyes that flash with intimidating intensity. Her features are roughly squarish, and her knuckles often carry the bruises of one fight or other.

Common outfits consist of a moss-coloured hoodie over a plain t-shirt and grey jeans, her school uniform of white dress shirt and tightly-knotted green tie with the school’s crest, or some combination of the two. These are always accompanied by scuffed brown sneakers, and by her well-worn school backpack which, stuffed as it is with her personal effects since going on the run, she refuses to let out of her sight.

[spaceratprodigy]

was thinking about somethin somethin nicky "breaking up" with iris while slow dancing with her

[gffa]

I think you could examine a lot of the writing for Sol in the finale of The Acolyte, where there's a very fair point that he's letting his emotions get the better of him, that a huge point is that his attachment to Osha (and it has truly become attachment at this point, not just love, but what the Jedi and Star Wars mean by attachment, the fear of living without someone because you are afraid of it) is making him act recklessly again, but also it's just so... clunky and so fast. LJJ is doing what he can with the material, but it's so telling that he's not allowed to actually explain why he killed Mother Aniseya, that it appeared that she was threatening the little girl that they were trying to protect. He's not allowed to explain because then Osha's reaction would look even more wildly 0 to 500mph. And it's the same for why he's trying to bring Mae in, like what will proving there was a vergence in the Force even do? Sure, it's of interest because it's incredibly powerful and potentially dangerous and should at least be checked out, that Sol thinks Osha and Mae are the same person in two bodies, but why does he care about proving that? What's that going to change at this point? How does that connect to his actions on Brendok, beyond "I had a reason to be suspicious"? That's already established! A vergence doesn't change that? But if he's not desperate to prove that, then his actions in the episode don't have a reason, they're just there because the show needs him to be going off the rails for Reasons. It's further reflected in just how unhinged he feels in this episode, like I get that we're meant to see Sol as someone who never dealt with the guilt of what happened, he kept it as a festering wound, and for a space psychic wizard, that is so much more dangerous than it is for non-space psychics, and I can agree, but also as a story, it just feels like he went from 0 to 500mph on the unhinged screaming Mae's name as he chased her down, that it all flipped on a dime, and I just don't get the impression that we're supposed to see him as having a Mask Off moment, especially given how he forgives Osha as she kills him and says it's okay while she's still choking him. Part of the problem is that only 8 episodes that aren't even 40 minutes long each means there's not enough room for what they want, but also part of it is just that the writing is not strong enough to convey what it wants and Sol's character pays the price for that, so he just feels weirdly out of character by the end for me.

[grlpartdoll]

part 2 :]

Can you imagine, after years of providing for the army — sort of old and a little bit grey — John Price, deciding to establish his own traveling agency.

He knows a lot of special spots, and knows too much about the history of the world. So he figures, after his honorable discharge from the military, that.. well, why not make money out of it?

His company grows quickly, eventually Soap and Gaz also decide that they've had enough, so they join, and the company grows again — under their careful direction.

They have an office building ten stories high now, and Ghost is the last to join after a lot of convincing (and an injury to his knee, but no one mentions that. At all.)

Price is their CEO, Gaz the marketing director, Soap the head of the client services and management teams, and Ghost becomes a Price's right hand.

Price knows he's not getting any younger, so he's steadily training Ghost to take his place, and getting Soap and Gaz used to the idea, too.

He'd asked Kyle, first, if he would like the position, to which he kindly denied and said he liked this — his own team, being able to do something that was pretty and purposeful for once.

Soap hadnt even let Price ask. He'd pointed to Ghost, during one of the meetings, and simply said ; "That' the big guy's job. Keep me outta' f'it."

So to Simon it went.

Since the transition is rough, and much more than Ghost — Simon — can handle all at once, Price makes him hire an assistant.

Comes in ; You!

Simon expects an old, cranky lady with office experience.

Instead he gets you, sunshiny, young — kind and with experience, sure, but so fucking clumsy.

You're still bright-eyed at your age, still have that sparkle in the depth of your twin stars. Ghost envies it, almost. If he didn't know what he did about the world, Simon would be glad to be like you. But unfortunately for him, he knew just how being innocent could harm someone.

Which is why he's out to break your little heart and your innocence.

Doesn't greet you back in the morning when you're all sing-songy, bidding the team that works in front of Simon's closed office a "goooood mornin'! I got donuts!"

Doesn't even look up from his pile of paperwork as you put down the tea on his desk — exactly how he likes it.

Just grunts as you go over what he needs to do on that specific day, the meetings he has, and the people he needs to call back.

But you don't let that deter you. You sit at your little desk just opposite of his, little kitten heels tip-tapping the whole way there. Maybe your hips sway a little. It's not like he was looking long enough to know, or anything.

Anyway — he's a horrible boss. Snappy. Angry. Grunt-y, and silent. He makes it known that he's disappointed in you when you make mistakes — but he always makes sure to go above and beyond what a normal boss should be. Always making sure you know that you're 'makin a mess on his carpet.' with your outside heels (you don't have the money to get inside and outside ones. So you wear yours inside and outside.) or that 'this chart is all wrong. Redo it before going home.' (you have a date tonight. It's 7pm, and you're supposed to stop working at five. Your date is at 7:30.)

It's no surprise that eventually, you start to be quieter around him — more avoidant, and certainly more skittish.

But it gets especially worse on that one day.

It was raining — you'd had the worst morning ever. Your shoes were all wet, including your socks. You'd dropped your coffee on your way in (sorry, receptionist) and you'd forgotten the report sheets you needed at home — a hour bus ride away.

Simon's knee aches worse on the pouring days, and he's more snappy, so you're usually careful around him.

But today, you've had enough, so you don't even bother greeting him, don't bother a smile. You don't even add any little joyful notes to his schedule while you rattle it off to him.

When lunchtime ticks by, you realize you forgot your lunch, so you have to order in, and you know it'll take longer, so you do extra work in the meantime, while you wait. Simon doesn't get up either.

When thirty minutes tick by and you still haven't gotten up, and your delivery person still hasn't reached the building, he looks up over the rim of his glasses, grunting.

"What're you doing."

"Pardon?" You ask, frowning.

"You usually are eating by now. Are you late in your work?"

"No—"

"Because, I've noticed you put in a notice for extra hours. 11 hours this week. And yet." He ticks his tongue at the pile of paperwork on your desk. At the mess you call your order. "Look' atcha. Right mess. And I still don't have last month's expenses chart I was supposed to get on Monday."

You lower your head. You were admittedly a bit in over your head — but that was because he refused to give your work to anyone else like Price had done it. John had always made sure the technical team handled most of what you were handed off now, and he'd also always made sure it was separated equally, so that not only one person had to shoulder all of the work.

But Simon — mister Riley, had it out for your head, and refused for his paperwork to be done by anyone but him and his assistant.

"I'm sorry, but —"

He grunts again. Removes his glasses and pinches the bridge of his nose. "That's not normal. If you're not capable of keeping up with this company, with the workload, then I suggest—"

You blink. This — this was the wave that broke the damn dam. "Oh, fuck off!"

Tears immediately began pouring from you then, fat heavy tears that you didn't even know had been waiting to be freed, rage swarming your senses as you picked up your bag from the floor beside you. You don't even feel your hands.

You stand from your chair, still with wet shoes that squeak uncomfortably under the sudden pressure and leave, slamming the door to his office behind you.

[nyaskitten]

EDIT: THIS POST IS INACCURATE !!!

I made the assumption Olive was editing the wiki articles, and while that's a very logical conclusion to reach, it was actually someone who shares the same viewpoints as them!!! Anything including the wiki articles and Olive's involvement is wrong and that's my bad!!!

Alright fellas, I guess we did it. We have reached the tipping point. I'm going to dedicate this post to calling out one specific person, @olivescales3, and their very toxic behavior. This post will be a bit messy, and I do apologize in advance, I'm writing this from the perspective of a Ninjago fan who also thinks beyond just the petty fandom stuff, what they're doing is just not cool.

I will clarify, I do not make this post for petty fandom drama, I make this to better spread awareness on some of the bullshit they're doing, so you can look out for and understand that they're bullshitting. Without further ado, I think we should just get into it.

So, what have they done?

Now, I should say while there is no 100000% concrete link between hyenabro and olivescales, I think based on their talking points (as well and the information I've recieved from friends in the Chima fandom, who have a bunch of prior experience with them,) it's safe to make this assumption!

So, what has olivescales DONE in this case? Simple, they've vandalized the Chima wiki on NUMEROUS occasions, even after several different people have revised their revisions, so as to discredit any conenctions between Dragons Rising and Chima.

(Green is their edits, red is the ones prior to theirs, I found this while going through their contributions section on their Fandom account, HyenaBro119)

As seen here, they have (under the username HyenaBro119) edited the pages for Chima AND the Forever Rock (I have two similar screenshots of essentially the same thing, one was from the Forever Rock article, the other was from Chima) and claimed Ninjago's lore to be some alternate universe. To further validate it, they write "Ras' visit to," but Ras NEVER claimed to have VISITED these locations, just that he knows them. They also claim the Forever Rock was destroyed, a blatant lie. Only a small section of rock on the Forever Rock was actually destroyed, not the whole thing.

Now, you're gonna ask "but Raine, how can you 100000% say it's them?" and I will cite common sense. While I cannot directly tie Olive to hyena, I CAN say their wording is SO very similar.

Both Hyena and Olive call DR "a parallel/alternate universe," and again, claim Forever Rock was destroyed, WHICH IS A FULL ON LIE. They're so adamant to protect "the sanctity of Chima's pre-established, set-in-stone lore" that they can't stop to think maybe, JUST MAYBE, sometimes a story can get new lore which can ALSO be canon!

I'd also love to share this HILARIOUS screenshot of one of their many posts, which not only backs up what I'm saying, but it's like damn they really set themself up huh!

Gee I wonder why you feel alone! Maybe it's because you are! Maybe it's because you're lying and making shit up to prove yourself right! No one is as big of a hater as you!

The also LOVE saying Ninjago cannot do anything with Chima unless they get express permission from the creator of Chima, some guy named John Derevlany, but oh man what's this I see before me?

CO-CREATOR? Oh but Olive, I thought he was the CREATOR of Chima, not CO-creator... ALSO Lego owns the rights to Chima, and Ninjago, and every other theme, as said by Doc himself! If anything he wasn't really dodging the question, just giving a vague answer, because he doesn't know much about the old contracts!

From what he said, it's clear that if they wanted to use anything from the other themes, they'd have to consult folks over at LEGO, not John Derevlany or Tommy A.!

Now here's the THING, I GET where they're coming from, it CAN be annoying to have people only care about a thing you like in relation to something else, but when you're going out of your way to argue that none of it can be canon and it's all an alternate universe it's like... god it's so sad and pathetic really.

Their lies and BS don't even end there with the wiki shit, because I have THIS glorious gem.

A) They bring up that the Ninjago folk do not know who the Phoenixes are which is like, okay??? Why the fuck are they gonna know about how another universe was created??? That's like if someone told me I don't exist in the same universe as my glasses because I have no clue who made them, that is to say, that's stupid as FUCK to say!

B) OH they say something REAAALLL funny ohohohho I am actually dying. Olive says the Phoenix icon "appeared in a Ninjago episode" and "Ninjago tends to reuse assets." Yep, NINJAGO is the one who reused the phoenix symbol, mhm. The symbol that was made in 2011 for NINJAGO, which cameoed in CHIMA in 2014, was actually just an asset reuse by Ninjago. I feel like this actually goes to show how desparate they are to feel right and validated, because this? This a lie! Ninjago made the symbol, and because Tommy A. is co-creator to both, he wanted to slip in a neat Ninjago reference, so he slipped in the Phoenix symbol Nya uses for the Phoenix tribe, not the other way around!

Another REALLY funny thing they did, aside from the wiki and Phoenix symbol shit, was this hilarious attempt at being right!

Yes, the compared the WOLF Masks to BATman's cowl, and did a horribly rough comparison illustration that very much does not make sense. If you actually compared them side by side, the only similarities would be they're both angry animal themed mask with pointy ears, which does NOT go very far in the long run. The foreheads they drew aren't even the same fucking shape lol.

OH ANS WE CANNOT FORGET THIS ONE! Their using a post about the Palestinian genocide and boycotting Lego in order to complain about Ninjago.

They claim Ninjago is produced by Lego, unlike other Lego shows, which is an EXTREMELY bullshit fucking claim. Just like Chima and Nexo Knights, Ninjago is produced by Lego, it's not JUST Ninjago produced by Lego, they are all Canadian-Danish CGI action shows, and they're all known to have Tommy Andreasen involved in the creation of them.

They're using a post about boycotting for the sake of innocent people DYING to complain about a lego ninja show for... killing evil people? It doesn't glorify war, the worst it does in regards to war is like not address how fucked up it can be in regards to the Serpentine War, but that's like it. I think it's so funny they want to single out Ninjago as if it's the only TV series where villains die for trying to conquer/destroy the world.

So, what do I want the takeaway from this post to be? What do I want you to get from it? I don't really know anymore, I just don't want Olive's horrendously toxic behaviors, and straight up lies to stop. If anything I think it's beautiful that Ninjago is making others interested in revisiting Chima again, stop being such a fucking hater dude. They act like Chima is some holy grail of Lego, the greatest thing since bread, but it, just like Ninjago, Dreamzzz, Hidden Side, and Nexo Knights, have Tommy in creative roles.

To act like Chima is somehow greater than is to place it on an unrealistic pedestal as if it's a godsend, when in reality it was co-created by Tommy Fucking Andreasen.

If you read through all of this, I do THOROUGHLY appreciate it, I didn't mean for this post to descend into an angry ramble but ehhh yk how it is. And Olive, if you see this, please, just stop with the bullshit.

[ineffable-suffering]

Why Aziraphale is an unreliable narrator

Part 2: The Story of wee Morag

This is Part 2 of 3 total metas. Here are:

Part 1, in case you want to read about my analysis of the Story of Job first

and Part 3, in case you're impatient and want to jump ahead.

Fair warning though, for the sake of understanding some of the references, you're probably better off reading this chaptered meta chronologically. However, every part should work just as well as a standalone! I'll do my very best to make it so.

Alright, off or on you go beyond the cutty cut!

I'll start this second part off with a very brief summary of the main take aways and points from Part 1, which go as such:

Memory, as opposed to a third party's narration, is not a factual, objective retelling of a story or event. It's mingled and mangled with emotions, imaginations and exaggerations, projecting both the feelings and impressions you had back then as well as those you might have now in the present time back on whatever it is you are remembering. (Which is why we need to put everything that Aziraphale is remembering into the context of what he might have felt in the past, as well as what he's feeling right now.)

While this doesn't mean his (or anyone's) memories are lies, it does mean they're a very subjective and sometimes factually distorted representation of what actually happened, which, in our case, gives us a lot of subtext and a lot of not-there furniture to figure out and look at.

So, let's continue with S2E3 and the Story of wee Morag. We start our flashback with a scene of Aziraphale writing his diary entry on the 10th of November, 1827. Immediately, it's firmly established that this is once again not an outside-point-of-view narration, but rather what Aziraphale remembers and wrote down.

One thing that immediately stuck out to me here, is how helpful and kind Crowley is to Elspeth, pretty much from the very beginning when they meet her in the graveyard. Not only does he take on a Scottish accent so she won't perceive him as English (as she does with Aziraphale), but he also helps her drag the barrel that has the fresh body in it and, in the end, even pulls it all by himself while Elspeth simply follows behind them. Here's a rather poor-quality picture, for reference:

Now, we know that despite not showing it very often, Crowley has always been very fond of the humans and never really put himself on a pedestal simply because he's an immortal being himself. He likes humans, just like Aziraphale does. But, just like this story will tell us, Crowley knows that on top of liking humans, you can't just put them into boxes of good and evil and expect them to always do what is supposedly the "right" or "divinely good" thing to do. (Which is what differentiates him from Aziraphale in the way he understands and treats them, as we're shown in this minisode).

Him immediately and unspokenly helping Elspeth with dragging the barrel therefore might also be a first sign of a tiny projection from present day Aziraphale, as opposed to what Crowley might have actually done (probably just walked beside her, like Aziraphale) because he has the knowledge that Crowley really was so very kind to her in the end, wasn't he? And that he's kind to humans in general. ("Not kind! Off my head on Laudanum!" Sure, babe.)

Most of this minisode, in my opinion, is actually there to establish how Aziraphale's view of morality and good vs. evil used to be quite flawed and elitist –– and how Crowley has always been there to gently nudge him towards questioning his black and white view of heavenly right and hellishly wrong. That's why I think there's not as many hints in this minisode about Aziraphale's memories not being an accurate portrayal of what happened, as there are in the Story of Job or the magic show in 1941. (And, fear not, the latter will definitely be the most hint-heavy one). Alas, there's still a few bits and bobs in the Story of wee Morag that stuck out to me, that make a brief yet good case of the whole unreliable narration thing.

First of all: The way Aziraphale describes all of it in his diary is so different from the way we see him actually remembering it. It's almost like he tried to write this entry (and possibly all of his diary) as a bit of a thrilling short story, with himself as the main character. Which makes sense, given the fact that he adores books and would certainly be keen on dabbling in the art of capital-w Writing himself. It's yet again hinting at the fact that sometimes people (and angels) try to polish and bedazzle stories (and memories) to make them seem more exciting and adventurous, often to distract from the not-so-fun parts of it.

Like when Aziraphale's diary narrates:

"It was with heavy heart we arrived at Elspeth's destination. I was determined to thwart her monstrous plan!"

... and yet we see Crowley and Elspeth casually walking down the alleyway, very obviously not heavy-hearted in the slightest, while Aziraphale nervously scurries on behind them, very obviously not determined to thwart. (Timestamp-wise, it's around 17:38 in S2E3, in case you want to see for yourself.)

We get another cinematographic/auditory hint at the fact that Aziraphale's memory is heavily influenced by what he's feeling that very moment, when Dr. Mister Dalrymple –– FRCSE, thank you very much –– shows him the tumor he removed from the seven year old boy. You can see the shock and horror on Aziraphale's face once he learns of this child's cruel fate. We then proceed to hear Mr. Dalrymple's voice grow sort of echo-y and far away as the sad music swells up and drowns out his voice almost completely. It's awfully similar to what it feels like when really horrible news are broken to you and you dissociate and drift into a state of shock. Here's the clip of it, so you may listen for yourself:

It's clear that this is a very subjective portrayal of what Aziraphale is going through during this part of the memory. He's deeply horrified and saddened about the little boy having passed away so early in life – and we hear and feel this shock with him. Through him, because this is his memory. Whatever it is he's feeling and thinking, we're feeling and thinking it too because we're seeing it through his lense.

Another (less sad) hint at a possible exaggeration is the abnormally deep hole Crowley makes the two graveyard watch keepers fall into. I'm pretty sure he's very much in charge of his miracles, making this random slip-up seem a little silly – which is why I'm also pretty sure the "Might have slightly overdone it on that hole" is a wee bit of a meta hint at this just being another one of Aziraphale's dramatic bedazzlements of this story. For the *flings feather boa around neck* drama!

You know what else might be exaggerated? Hm, I dunno, maybe Crowley growing into the size of a tree for no apparent reason. Sure, yes, he's pretty high on Laudanum which is making him a bit loopy. But apart from that, it does seem an awfully big cinematographic euphemism for him being the metaphorical (and, once again, for the drama of it) literal bigger person in this scenario. He's the one who ends up saving Elspeth and who manages to secure a safe life without poverty and grave robbing for her. While Aziraphale was so tangled up in his own moral journey and main character-ism, missing that wee Morag was seconds away from death already, Crowley is the one who actually ends up growing stepping up for the human in need and saving them for good (pun intended).

In a way, it might just be Aziraphale's view of/feelings for Crowley in this very moment. Watching the demon outgrow what, according to Aziraphale's heavenly logic, is supposed to be a foul fiend, bestowing evil upon humanity – and growing into someone who does the exact opposite and saves Elspeth instead. Another larger-than-life character development, in Aziraphale's eyes. Literally.

Let's switch back to the topic of the diary entry one last time, so I can make my final point of the this minisode's unreliable and a smidge over-dramatic narration of Dr. McFell. If you pay close attention, Aziraphale starts the entry we're all getting to experience with: "Last month, Crowley and I both happened to be in Edinburgh." Which means it didn't actually happen on the 10th of November, but rather at some point in October, 1827. Once we see Crowley get hydro-pumped back to Hell after rescuing Elspeth, the minisode ends with, presumably, the last sentence of Aziraphale's diary entry: "And that was the last I would see of Crowley for quite some time."

Take my hand and let's look at where the furniture isn't: This very clearly means that Crowley couldn't have been gone for more than a month, at best. Read again: "It happened last month and that was the last I would see of him for quite some time." This, albeit indirectly, clearly implies that when Aziraphale had sat down to write the diary entry, he had already run into Crowley again. Otherwise his phrasing would have probably been more along the lines of "... and I haven't seen Crowley since" or "... and Crowley has yet to return from wherever it is Hell's currently keeping him".

What's the point I'm trying to make? Good question. I guess my main point of storyteller Aziraphale being a bit over-dramatic in his narration is simply backed up by this, since A Single Month would barely pass as "quite some time" for an immortal being like him. And yet that's how he puts it, in his little Confidential Journals of A.Z. Fell, Vol. 603.

And another point that has absolutely nothing to do with the topic of this meta (but I'm still gonna make it 'cause this is my memory post): The meeting at St. Jame's Park in 1862 that so many, post-S2, took to be their first run-in after the Story of wee Morag, actually wasn't that at all. They saw each other at least once only a month later, as Aziraphale's diary lets us know. Which explains why he wasn't very surprised or concerned when he met Crowley in London, 1862. If there really had been 35 years in between those two events, the first one ending with Crowley being sucked back Downstairs to receive more than three decades worth of hellish punishment, wouldn't Aziraphale have been at least a tiny bit worried or more interested than:

Just saying.

Alright, let's string this inflated hot air balloon of a post back together so we can outline some invisible furniture. This time with only two humble points:

Crowley through Aziraphale's lense Backed up by how we are introduced to Bildad the Shuhite in the Job minisode (suave, cheeky, smart, passionate in shoemaking and obstetrics), it's growing quite clear that Aziraphale's memories and impressions of Crowley are very fond and impressed ones. He sees him as someone who's not only witty, funny and cool, but also as someone who has figured out way sooner and faster than him that nothing's ever black and white. Not God's plans and not the human's choices either.

Aziraphale as a bit of an exaggerating adventure author With the direct parallel we get of inkslinger journalist!Aziraphale in the present day, it's quite apparent after this minisode that Aziraphale's memory is not only deeply influenced by his emotions, but that he also tends to have a bit of a dramatic touch to him. Although, you gotta give it to the guy: A month without seeing the love of your life, even if said life is eternal, can indeed seem like "quite some time".

Well, would you lookie here, we've reached the end of Part 2! What a journey it was. I hope you forgive me for the fact that I drifted off-course a few times. I just can't seem to reel in my silly little observations, even if they've got nothing to do with the point I'm trying to make. But hey, doesn't that just make me a little bit like Aziraphale's storytelling, in a way?

I'll let you be the judge of that.

See you in Part 3! And in case you haven't snuck a peak yet: here's Part 1 again.

Ta!

[fiona-fififi]

could you explain to me why you think bucktommy forever would be narratively satisfying but there's no possibility of them introducing a love interest for eddie that would be satisfying? i don't understand

I DON'T think bucktommy would be narratively satisfying.

I DO think there is more potential in the current narrative structure for them to make bucktommy endgame work in a reasonably narratively satisfying way (IF Eddie's story wasn't a factor, which it is).

I also don't necessarily think it would be impossible for them to bring in someone for Eddie if I'm imagining they have all the time in the world to make that work. But the reality of the current narrative is that I don't think they have all the time in the world. And as talented as these writers are, I don't see any way they could introduce someone entirely new, with no connection to the current narrative, and make me buy that person as Eddie's endgame. There just isn't time. A couple of years ago, I would have said that I thought Eddie could have an interesting and satisfying ending to his story if he learned that he didn't need romantic fulfillment to be happy. Since then, however, they've really doubled down on Eddie's loneliness and desire for a romantic partner AND they went for the queer Buck storyline. When you add to that all of Eddie's history with Buck and the way he's welcomed Buck into his life and embraced him as a partner both in his own life and in Christopher's, I don't see any way for them to disentangle that story and introduce someone else (unless it was Tommy, maybe, but nobody's going to want to hear that).

It would just take SO much work and time that I'm not sure they have because it would take several seasons, I think, for it to really reach any level of satisfying.

The difference with bucktommy is simply that it would take very slightly less work (though still a TON of work) for a few reasons.

First, Buck is just Buck. With Eddie, there's also the Christopher of it all to contend with, which adds a complicating layer that extends the work that needs to be done in Eddie's story in a way that doesn't exist for Buck's story (as important as Christopher is for Buck, it's very different from what would need to happen for Eddie who is literally Christopher's parent). So Buck's story has fewer complications to contend with, especially since they've already gotten it off the ground with Buck's queer awakening and introducing his relationship with Tommy already at this point in canon. So there would literally just be less time involved.

Beyond that, Tommy is already an established character in universe. They don't need to do quite as much work to help us get to know him, because we already do, even if only peripherally. But he is established as significant to the stories of other characters beyond Buck. He had a role to play in Chimney's, Hen's, and Bobby's (and hell, even Eddie's!) stories long before he ever became significant to Buck's. So, developing his place among the team and their extended family is not nearly as complicated as it would be with someone entirely new—and even someone from Eddie's past wouldn't have the history with the team, so still, more complications there.

So, yes, I think bucktommy has more potential in the current narrative structure (if—and ONLY if—completely divorced from Eddie's storyline, which it can never be).

But not only do I not actually think either could be a satisfying ending for either Buck or Eddie in the current narrative, there actually isn't anything to suggest that the show is doing the work it needs to to make that potential a reality, either. Because they are not separating out Eddie and Buck (frankly, they're entwining them further). And they aren't even doing any work to flesh out Tommy’s character. I know fandom has grown really attached to him, but the reality is that the character is currently just being used as a pawn to move Buck's story forward. Tommy has a past with the 118 that creates a lot of potential, but that potential is not being used. The character is, frankly, pretty flat at the current moment. They haven't even tried to bring him back into the 118 fold—the only people he's really interacted with since his reintroduction are Eddie and Buck, when there has been plenty of opportunity to fold him back into the team in ways that would at least have him vaguely interacting with the others (like, I don't know, Chimney actually inviting him to the wedding or Hen even acknowledging him at the bachelor party). Their relationship is cute and sweet, but there's nothing that indicates it's any deeper than any of the other relationships Buck has had thus far, and they are actively juxtaposing the bucktommy relationship with the buddie relationship in a way that makes very clear just how surface level that relationship really is when compared to the depth of Buck and Eddie's relationship with one another.

So, no, I don't think bucktommy are going to be endgame, nor do I have any interest in them being endgame. But I recognize that there is currently—literally, in the canon narrative—more potential for bucktommy to work if the show really wanted to make it happen and put in the work, mostly because of Tommy’s history with the rest of the 118.

On Eddie's end, there is no current canon potential. There's no current love interest they could turn around (especially because Edy is a shit human being and people would riot if they actually made Marisol Eddie's endgame). There's no past love interest they could bring back that wouldn't somehow have to be worked into the rest of the team. There's the additional complication of the Christopher of it all and how much that changes where Eddie's story can go and how quickly it can be developed.

It's quite literally just the difference in time. If Buck's relationship with Eddie wasn't a factor, I think they could do it in two seasons for bucktommy. For Eddie and this currently non-existent love interest, I think it'd take a good three or more, and even then, I think it would have to be someone they introduce as a part of the team (Lucy? Ravi? Tommy?) because anyone separate wouldn't have any room to develop sufficiently.

But the reality is that, frankly, the ONLY narratively satisfying ending for Eddie and Buck is one another. Any other option would require dismantling so much beautiful storytelling that I cannot see how it would ever be worth it.

[curio-queries]

Are You Sure?!

Episodes 5 & 6 Notes

It was very fortuitous that I've been so busy over the last couple of weeks as I really needed both of these episodes together to make sense of my thoughts. This post is definitely far more conceptual than my last ones so if you're up for it, click on though the cut!

AYS's Main Character?

I would like to propose that AYS has a main character OTHER than the individual humans we're following along on screen. (I warned you, this post was going to be conceptual.) And the main character is the relationship itself, how each of the members relate to one another.

Here's Google's AI overview on what this concept means:

A story can center on the relationship between characters as the primary protagonist, with the dynamic and evolution of that connection acting as the main driving force of the narrative, rather than the individual characters themselves.

Key points to consider:

Relationship-centric stories: Many genres, particularly romance, often focus heavily on the relationship between the main characters, exploring its complexities, challenges, and growth throughout the story.

No single protagonist: In such cases, the "character" is the bond between the individuals, not just one person's perspective or journey.

Exploring the dynamic: The narrative would then focus on how the relationship changes, adapts, and reacts to external situations or internal conflicts.

Examples:

"Before Sunrise": The entire plot revolves around the single night encounter between two strangers, with the developing connection being the central focus.

"Brokeback Mountain": The story primarily explores the forbidden love between two cowboys, highlighting the complexities of their relationship in a restrictive environment.

"Steel Magnolias ": A group of girls in a small town in Louisiana experience grief together, including weddings, fatal illnesses, and the loss of loved ones.

Now before anyone comes for me saying I'm just pitching an argument for xyz fanwar, please note that I included the above just to illustrate the concept of a non-person main character rather than stating any of the above are comparisons to the individual member's relationships. We're talking about a show that was produced and distributed for entertainment, nothing further.

Episode 5

My main feeling after finally being able to watch episode 5 was overall unsettled. There was something sticking with me about that episode and I could NOT figure out what it was.

I knew I was feeling like the entire episode was stretched well beyond what the footage wanted for a complete episode. I'm all for getting to spend more time with our fellas but the Jeju trip would have benefited from being cut down to 2 episodes rather than 3, in my opinion.

There was just a whole lotta nothing happening. The guys eat, travel around a little bit, and eat some more. I had some vague thoughts about how I could quantify some data for y'all to explain this point but then it was time for the next episode...

vs. Episode 6

And what an absolutely lovely breath of fresh air this episode was. I know there have been some Run eps that I review with a smile on my face throughout the whole episode but AYS6?? That was 73 minutes of pure bliss.

So I started thinking about what must be different between the two eps. The guys eat, travel around a little bit, and eat some more...wait, that's exactly what I said about ep 5! Lol

But I think the main difference between the two is episode 6's plot points continually focus on the relationships between the members, while 5 falls a little stagnant.

Some examples:

JM/cat & JK/dog. I'm ALWAYS down for more footage of BTS with pets but this is frankly too much time spent on these scenes. It's honestly footage I would have expected in the bonus content instead of the main product. It's not just an establishing beat or a setup for a callback, this is supposed to be a scene but since it doesn't contribute to the journey of the main character aka the relationships. It could maaaybe work if they'd cut it to highlight the juxtaposition of how JM is calm with the cat vs JKs energy with the dog but that would have shortened the time it occupied and they were clearly trying to keep absolutely everything in that would lengthen the episode.

JKs stew. The ONLY thing that ties this plot point into the narrative of this show (other than it happening while he's in Jeju and Jimin is nearby) is the offhand comment he made that Jimin would like it while he was in NY. I'm going to talk more about this footage below but this was absolutely crucial for this whole beat making it into the episode. This is also why the footage of JM eating it and randomly taking off his shirt was kept in. The cut they chose is actually pretty bad story-wise but they used it anyway. We hear JM saying how much he loves it and how glad he is that JK is a good cook. It ties all of this time we spent watching JK do something alone back into the real main character of the show (the members' relationships between eachother in different circumstances).

Anyway, I won't belabour the point any further. With Tae constantly disappearing from scenes and the slightly diminished lack of focus on the member's relationships, episode 5 left me on an odd note.

A Little Production Note

I was completely thrown by the footage of JK in NY that we got this episode. But not for the reasons you may be thinking. (I do wonder if the anon that was sending in asks about the financing behind the documentaries is still around because we're getting into some of tidbits finally.)

So, all along we've been trying to sus out as much as we can, just a few details about how AYS came to be. We've had some hints but the inclusion of this footage may be another indicator.

The facts as we know them:

AYS is distributed by Disney.

Jungkook's documentary is being distributed by Trafalgar Releasing NOT Disney (at least not now, maybe it'll make it onto streaming after cinematic release but who knows?)

Questions due to the footage of JK in NY:

Was this footage captured as part of JKs documentary?

If so, when was it pulled to be utilized for AYS? Did the editors find it or were the writers involved?

We know that HYBE gathers behind-the-scene content without always having a full plan of how it will be used. But there are times where it did seem intentional for a specific purpose. Where did JKs Golden footage fall in?

Once upon a time, production houses would make deals with distributors about quantities of projects that would be delivered. Was that the case with the Disney deal or has every single project been negotiated separately and we only heard about it once there was a confirmed quantity. Somewhere in the middle perhaps?

And that's all I've got to say for now. I do have some more thoughts about things I've gleaned during these last couple of episodes but it'll likely keep until the end.

Anyway, this footage bumped me because it broke the rules of cross-project production. They got away with it for JKs SEVEN footage in ep 1 because they likely were using the same production crew since it was literally the same day so it doesnt feel like they're'breaking the wall'. But the NY-Jeju crews could have been completely different.

Editing to add further clarification to this point in this ask.

On a sidenote, do y'all remember the last time we got footage of jikook in a hotspring?? I'll jog your memory if not, it was in BV:4 and they 'washed each other's faces'. I can't even imagine what we're about to see in episode 7.

Link to my AYS MasterList

[circeyoru]

hello, damn I fell in love with your yandere Alastor, it's too much jdkdkfkkd it's so sweet it kills me, I wanted to ask you how Alastor would react and his darling gave him his soul. I told myself I was going to stop reading so many Alastor fanfics but I can't with yours, they are very addictive.

To those that have no idea what this is talking about, check out {Unwanted Soul}

Thank you for your read and interest!! (can't believe someone says my stories are addictive, feel like I committed a crime)

OKay, back to business. Interesting ask. We never explored Alastor's side of the soul ownership huh. (since it's different from canon)

Basically, what's Alastor's response and reaction to Reader breaking the contract and returning Alastor's soul to him to own.

Alastor would see this as you not wanting him around. Full stop. Whatever your reason and currently established relationship (like how close you two are). He'd have a full breakdown and his confidence all gone. He gave you everything and treated you like an entity beyond. What did he do wrong? Tell him and he'll fix it!

By now, like after part 3. You have already mutually returned his feelings, but just not as strong as Alastor's. At least you're more lenient and accepting of his love and affections to you. He doesn't understand that you want him to hold his soul again without abandoning him. He knows you fear his power and Overlord status that can bring you to ruin, so giving you his soul was a way to show you he didn't care about these things that anchored his pride when compared to being by your side. To him, you accepting his soul was the same as you letting him stay by your side and accepting his twisted love for you. If you give back his soul to him, you're saying you don't want him and his presence around you.

He's not stupid, while he builds your reliance on him, he knows you could just as easily remove him from your afterlife. As such as he hates to admit it, you didn't need him as much as he needed you. (now isn't that odd?)

That's his feelings, now for his reaction and response.

While he wouldn't harm you, he'll frighten you to use the ownership power over him. Showing you that if you set him free from your hold, he can and will wreak havoc. Aren't you regretting the very thought of suggesting that? It's laughable, you want to free him. He'll show you, even when his powers are limited, he causes destruction to demons around him, think about what would happen if he's at full power.

Both of you are aware of this manipulation and you knew Alastor was using it to his advantage. Odd that the one that owns his soul is so powerless against his words and persuasions.

Oh, those don't work? Well. That's too bad. The hard way it is.

Alastor will lock you up somewhere. Keep you away from any paper-related objects. You're powerful, but you can't compete with him in combat. "You're sloppy, darling." He'd laugh when you tried to immobilize him with your summoned angelic weapons. They're deadly, but nothing if they don't land on their target. He'll push you into a corner so that you have to defend yourself till the point of exhaustion (like that time with Adam). Then he'll catch your tired and defenceless self in his arms lovingly. Once you're in your slumber mode, you're all his.

Charlie and the others are trying to find you? Even Lucifer? Well, he has his shadows and he will hide you from them. He's stronger now, before he played nice because you were there, but you're out of commission at the moment so he can let loose a bit. He would have pointed the finger at Charlie or even Lucifer and the others for your silly actions, that is, if you weren't always in your room with your entertainment. It took him years to get close to you, how can they do the same in such little time and you weren't caring for them as you did him. Even during you activities with the group, you weren't as involved and chose to stick close to him.

He'll nurse you back to health, but not fully that you can run away, he'll keep you at that borderline between energetic and exhausted. He gives you the same life you've lived with him during those 7 years, eveything's the same. Like the world only has you two in it. Back to the good old days.

Just don't worry about the times he's gone. He needs to ward off some pests around you. You don't care for them, yes? Alastor knows and understands. He'll take care of it as usual. You can ignore it all with your anime and comics, or take a nice long sleep to pass the time.

You let Alastor go? He's not letting you. Not on his soul.

Note: Hope this answers your question. I actually thought you were asking what if Reader gives Alastor their soul. Idk how I got that

Welcome other asks about my stories too!

Other Works: MASTERLIST

[onlycosmere]

Questioner: Do you have plans to self-produce your books into movies or TV shows? If Taylor Swift can do it, you can.

Questioner: Oh right, yeah, Taylor Swift. Let's point out, there's a little bit of a difference between a 45 million dollar Kickstarter and a 1.6 billion dollar tour. So, we've talked about this, and I've come to the conclusion that for right now I don't want to try it. There are a couple of reasons for this.

Reason number one is that I like my Kickstarters to have a ton of value in them, right? I always tell my team, I'm like, we have to be giving a lot of value to people on the stuff that they do with our crowdfunding or our Kickstarters. And that means that, of that 45 million dollars, we don't make a lot of that. We're putting most of that into the product, and into the shipping, and into the team, and into the company. And so, if we were to do a crowdfunded movie, we need like a 200 million dollar budget, 150 at the lowest, to do a film. And if I'm going to do that, I would want to be giving people a ton of value which means we'd probably have to raise 450 million, which is just a ridiculous amount to do on a crowdfunding, right? So that's number one.

Number two is, a lot of times, these sort of outsider projects don't work as well in Hollywood as you would hope they would. Taylor Swift was able to do a thing and put it directly in the theaters and whatnot, but what we want is a partner over a long period of time. I want someone like Universal, or Disney, or Warner Brothers, who has a long established reputation to buy in on the cosmere, and make things with me for twenty years, right? I don't want to just do one off, I want to build something over time and I feel like I need a really good partner in the industry to do that.

And you know, reason number three is, a fool and their money is soon parted. I've known too many people who think, yeah I can make a movie. And let's just say that there's a reason why The Room isn't that great, and it's because being good in one area doesn't mean you're good in another. I am really good at narrative. I'm getting good at screenplays, right? I'm getting to the point where I feel confident I could do the screenplays myself. But I can't direct, I can't cinematographize, I don't even know how to make that a verb, right? I can't do casting, I can't do all of these things that experts in their field, and yes, I could start hiring them, but I feel like, never having run a movie before, it would just be a disaster. So you would donate all this money, I would waste it all, because I wouldn't know what I'm doing, and this is how Kickstarters go bad real fast, right? I've only done these things when I know I can deliver, and I do not know I can deliver this for you.

So, for the mean time, I'm going to keep trying to use the standard mechanisms. I feel like, you know like, this year we got frighteningly close. Well, frightening is the wrong term. The frightening part is it didn't work out. But we got really, really close. I saw people on stage, in mistcloaks, acting and reading my lines, okay? Yeah. And then it all fell apart, and it's all dead, right? We got really close, but we're getting closer and closer. And Hollywood is really interested in the Cosmere. They recognize the value of my stories. They've been, for years, saying, we know this is going to come, break out, and it's going to be big someday. But it's all about figuring out how to make it work, and beyond that, Hollywood is kind of on fire right now. And so we're waiting for it to, for someone to put it out. So, regardless, the answer is, I've considered it, and I've discarded it for those reasons, but it's still possibly on the table. It is something that, you know, the awareness of the possibility is in the back of my mind, okay?

[avelera]

I feel like one unexpected side-effect in the (slight) uptick of queer ships becoming canon (seriously guys it's so slight if you look at the actual numbers) is learning how often slash fandom doesn't actually want the baggage that comes with their ship becoming canon.

I mean, of course they want it. The fandom wants the confirmation that they're not delusional, that they're not mocked, that the sparks they sensed between two possibly-queer characters is real.

But the side-effect of a ship becoming canon with anything more than a kiss to mark the end of the story is that it might become canon not in the way you wanted.

So long as the characters are in the will-they-won't-they, you can imagine what their first time would be like. You can imagine how they act in a relationship together. You can imagine the tone of the relationship.

You can imagine it in ways that are incredibly personal and meaningful to you.

But the minute a ship becomes canon at a point where the story still needs to progress, you're going to get divergence from the way you imagined it going.

They're going to bicker about things you never imagined would be a point of contention between them in the story, that it might have even been meaningful for you that they had never fought over previously, possibly because the story just didn't have the time for them to fight over that beforehand. Or perhaps this writer leans more into interpersonal conflict as a plot point, where you preferred the couple facing an external threat. There's as many ways to imagine the tone of a relatinship as there are people in the world.

They're going to have a different first-something than you imagined. First kiss, first date, first time sleeping together. For it to be canonical it has to be committed to the page which means it has to be set. Maybe you thought it would be awkward where it was smooth, or smooth where it should be awkward. Maybe you though the kiss would be a bigger deal to them than the sex or vice versa. Maybe canonically they flub the romance of that first time for the sake of comedy. Now that's canon too. You can ignore it with fic, obviously that's what fandom is about, but now it's AU, not "what-if?".

There might be interruptions to the love story, breakups, fights, separations, that aren't the end of the relationship but do mark an action beat that is necessary to keep the story moving and interesting. Unless the last canonical beat is them riding into the sunset together, it's inevitable and usually marks the end of a story because domestic fluff where nothing happens isn't actually a genre that can be sustained in original fiction without a plot.

Look, as queer ships become canon, this is going to be inevitable. OFMD S2 was the most egregious example I've seen recently of everyone who had engaged with the fandom having a different version of how they wanted Stede and Ed to behave once they were together. I couldn't help but laugh when I saw that the fandom fervency shifted from the canonical established queer ship (after it had the audacity to move beyond the establishing kiss and then the will-they-won't-they phase of reuniting), to the potential of a character who was never even canonically established as queer (Izzy) because everything about his story still lived in the potential land that fandom thrives in. And I don't entirely mean that as a criticism, just as a bitter irony!

Fandoms don't necessarily want a ship confirmed, they think they do, but that potential which was so enshrined and infuriatingly drawn out with regards to queer ships for so long and that's only just barely breaking just a little from when it was outright forbidden to show queer characters getting together (and it still is in most of the world if you go by population, and heavily discouraged by the mainstream powers that be in most places even where it's not banned, the limitations on international markets you get from having canonical queer characters even as side characters still makes it prohibitive for big budget flicks, since it means cutting themselves off from those markets in terms of recouping costs.)....

ANYWAY the point I'm making is that a few queer ships becoming canon has led to a perhaps predictable but depressing amount of outrage when 1) a popular queer ship doesn't become canon, but that's been building for a while now, but also 2) when the popular ship becoming canon doesn't become canon in the way the fandom wanted. Which was also inevitable but goddamn as a veteran of fandom for over two decades now, I can remember not that long ago when your queer ship becoming canon just not in the way you hoped would have been a damn nice problem to have!

[rassicas]

You at some point said that you wanted to change some of the backstory of Verna regarding his relations with Grizzco, to better reflect his position and purpose at the company with the new rotm and potential Splat3 dlc lore. Now that we have everything, have there been some finalized thoughts on the subject?

currently with my OCs I'm a bit stuck. I have this whole huge plot I've been trying to work out with how Cress and Verna reunite and get into some... Wacky Misadventures (they are going to have a bad time. together), and come out of it more understanding of each other....all this takes place prior to the start of Splatoon 3, and Grizzco is involved in that story so i cant really work out what happens to Verna during Splatoon 3 until all that is worked out...augh.

oh god i accidentally wrote too much about how grizzco works in my splatoon OCs setting. under the cut

How I've basically worked it out in my setting is that it's as if Mr. Grizz doesn't even exist. Well, he does, but...you can NOT convince me this literal mammalian bear is micromanaging an egg collection operation a few hours away from an underground cavern, all while building a spaceship, repairing alterna, and doing god knows what with fuzzy ooze? his voice from the radio is pre-recorded. He's just in the background trying to get his golden eggs for his stupid mammal revival plan. Grizz is pretty paws-off with the actual operations of the company. In order for Grizzco to operate like an actual company in the Inkling world, Mr. Grizz needs connections within the Inkling world. He needed to hire people, and lots. contractors to pilot the boats. the helicopters. people to repair them when there's issues. contractors to set up the grizzco building. people to maintain it. Supplying and maintaining weapons. Who put the statue there? Remember when grizzco would actually close its gates? someone had to be doing that. Advertisers? Sales of eggs? Do you really think Mr. "Does your species even have bones" Grizz is doing all that? No. So how would Grizz get these connections? I think ORCA could've helped out in some way with scouting some people online or with Grizz's business knowledge being an all-knowing AI. ROTM sure does a great job explaining or even implying anything about the relationship between those two. /s. But ORCA still is just a virtual entity, and you'd need a physical representative for some things, right? Anyway this is where the Judds come in. I think the idea that Lil' Judd being Grizz's initial way into the Inkling world...sucks. That's probably what the Splatoon team is going for and I do not care, the timeline on that does not make sense. Grizzco was introduced to us, the players, in April 2017. At this point the egg baskets are all installed, and there are Inklings in-universe partaking in egg collection....Lil Judd was born only a few months prior. I'm sure it would've taken a while for grizz to get everything together to establish this company. To me it makes more sense for Judd to have involvement. He's the only other mammal, and the one with all the power. (not only do i think the implied canon timeline sucks, in my OCs canon, i've had it established that grizzco has existed in some form several years before s1 so...) I wouldn't think Judd would know about the mammal revival plan. but like, Judd lets Grizz set up because he's looking out for his fellow mammal, and saw the kind of energy benefits this would have….also more salmon meat, yum. Judd canonically has numerous connections in the Inkling world, even to world leaders. He could use these connections to allow for Grizzco to set up business and give that permission to operate in the restricted areas where Salmonids live. Beyond this I have a hard time imagining Judd getting too heavily involved. Like once some other people are hired to do some more micromanaging of the company Judd kinda dips. Lil judd doesn't get involved until some years later and takes more direct interest in the company. With permissions granted and Grizzco operating as a defense against the Salmonid army while also providing power eggs, then grizz could do whatever he wanted so as long as an amount of money and eggs went into the Inkling world. And eggs are the primary source of income for Grizzco, so this part is very important. I think very early on Grizz would've had to personally deal with the sales of eggs to get the money to get the company started...maybe selling to octarians even? But for some real business dealings in inkopolis, youre gonna need some representatives in-person. anyways remember when this post was about my OCs. So I'm making a Grizzco board of directors, and they're the ones who actually maintain the company and the things in it while Grizz is busy in Alterna. Even the directors don't really know about Grizz's mammal revival plan, they just supply him with golden eggs and turn a profit for the company, by whatever means necessary.

After spending quite some time at Grizzco and becoming more trusted as an employee, Verna gets to know some of these directors. Some become his allies, and some are a bit more unsavory... He starts spending more time with some of them especially after his salmonid encounter, and they'll have a role in Cress and Verna's story. I've had some of these guys bouncing around in my head for years. some of them have art that im sitting on. i wish i could share more but I am Not done cooking </3 so to answer your ask in short. yes I have finalized much of the things with how i have grizzco functions in my OC's setting, and im basically ignoring the existence of grizz himself, in the same way that grizzco as a company runs completely normally even after grizz basically dies in ROTM. but at the moment, i do not have all the details finalized with other people at the company and how verna interacts with them

[dharmafox]

Some thoughts on the two Medicine Sellers and Karakasa's themes

Based on what we know so far, the big theme of Karakasa seems to be the destruction of individuality for the sake of integrating with a group. This is what Nakamura-san said the movie would be about from the start, and we're seeing that play out already in the many trailers that have been released. The women of the Ōoku are initiated from their first day there in the water ritual, which requires them to sacrifice things they value to O-Mizu-sama. Thereafter, they're trained to serve the Ōoku, even to the point of denying their true feelings.

That this ultimately requires the sacrifice of their individuality we can see pretty clearly in the maids who are already "integrated"—they appear again and again with featureless faces, marked only by a spiral shape that's reminiscent of swirling water.

Freaky.

This loss of individuality isn't just treated as a virtue; it's treated as necessary and sacred.

This is a lot like the Buddhist concept of "no self." It's often taught that to attain enlightenment is to attain no-self, or the "true self" beyond the individual. In Taoist terms, this means reaching the origin of birth and death. The latest lore document discusses these concepts a bit.

This idea that "no self" is equivalent to enlightenment can lead Buddhist disciples to the idea that the ultimate goal of practice is to let go of all ego forever. Again from a Taoist perspective, that effectively means returning to the origin and staying there.

Like integration into the Ōoku, this is a kind of conglomeration. To die to the self and return to the origin is to lose individuality in an indescribable "void" that's considered to be the true nature of all things. But this void is also the origin of birth and death, and one isn't meant to remain there. Staying in the origin is death without birth; it's clinging to an unnatural separation of "oneness" and the individual. Obviously, this separation isn't really "oneness." Hence other Buddhist teachings that say clinging to the idea of no-self is the same as clinging to a self.

From this perspective, the O-Mizu worshipping practices of the Ōoku are in no way sacred. They're leading the women to spiritual death, which in the end may become physical death, or at the very least leave them hollow shells. Without a sense of self, there's no life.

Then there are the Medicine Sellers. They embody a higher state of awareness, or a state closer to enlightenment than that of the humans. From the perspective of true oneness, they may embody true enlightenment, the meeting of the divine and the individual. This isn't just because each of them is a fusion of god and human wherein they and the god retain their own personalities, but also because each of the Medicine Sellers is an individual themselves.

Grumpy and Happy.

While the humans try to achieve an ideal state by "virtuously" sacrificing their egos, the Medicine Sellers are already in some higher state without making any such sacrifice.

Their stories illustrate the value of their individuality in the service of humans. The first and second Medicine Sellers are opposites because they have opposite goals. Each group of humans they guide has gone to an extreme state of "separateness." The first Medicine Seller's humans show the reason for the "no self" teaching: They cling to identities that have become toxic, effectively prisoners of their own minds. This is a long-established behavior for us. We define ourselves based on what we're taught is right or safe, and then we stick to those self-definitions even when they hurt us.

So the first Medicine Seller is detached from humans. He doesn't get drawn into their identities. He's not driven to protect them; he's driven to destroy them. His, as Nakamura-san puts it, lack of interest in people even to the point of apparent cold-bloodedness doesn't mean he doesn't care about them. It means he knows that returning them to the "origin" is the only way to save them.

But the second Medicine Seller is dealing with an opposite, and arguably a more modern, problem. The humans in Karakasa are exclusively seeking "no self." The Ōoku's women have abandoned their individuality and demand that Asa and Kame do the same, ceasing to value themselves and each other.

These bitches gay.

So the second Medicine Seller is more "interested in people" and protective of them. His goal is to sustain individuality and help people stay in the world. It's not the identities he's dealing with that are toxic; it's the glorified conglomeration that threatens to swallow them up.

Obviously I haven't seen Karakasa, and I'm extrapolating all of this based on what we know. But from the perspective of what we do know, this makes sense. Karakasa is about individuality, and it's here that Nakamura-san decided to reveal to us that not only are there multiple Medicine Sellers, but they can have personalities so different as to be, at least in some ways, opposites. And he told us what they are: the I Ching's 64 hexagrams, elements vital to the functioning of the world. Their individuality is vital to the functioning of the world.

And if beings more "conscious" than us need their individuality to keep the world turning, then so do we. Throwing it away doesn't lead us to enlightenment. On the contrary, it moves us farther from the sacred.

[eww-y-tho]

The hypothetical debates surrounding the whole "Lady and Lord Whistledown" vs "Colin and Penelope Bridgerton" make me wither because

Lady and Lord Whistledown.

I'm telling you, this shit would be so fucking funny. I can picture it in my mind's eye: Bridgerton season 4, we get a quick shot of Colin and Penelope talking shit and giggling like crazy in the background, maybe with some PDA to match because Colin can't keep his hands off her, only to hear a male voice actor of a similar calibre to our angel Julie Andrews join in sometimes while Charlotte picks up the paper and cackles. Obviously, the reveal would happen, but I want to believe that our Queen would be down for Whistledown to continue as long as it doesn't get too personal. It would be kind of unfair and a bit indicative of the period, monarchy and all, but Charlotte being in on it would amp up the comedy points. Plus some ~historical cultural commentary~ would just be that final flavouring of spice.

It would kind of feel like Colin's turning to the dark side because we've already seen quite a few scenes where he seems possessed by Lady Whistdown's attitude and I love the idea of him coming from hating Lady Whistledown's guts to protecting her and joining in because it's fun and it activated his little shit reflex. Plus the subtextual implications of just how much Colin and Penelope actually are best friends and are connected beyond normalcy would just be *chef's kiss*

I would also love it because it feels very partner-in-crime vibes, giving another aspect to their relationship that would be fun to see. Combined with the power Lady Whistledown has on the story, we'd be guaranteed to see our beans quite a lot. Also a "Hello, my Lady," followed by a "Hello, my Lord" after a particularly steamy scene would literally have me shaking crying giggling dancing kicking my feet.

As for Penelope, it honestly depends on how you view her character and her relationship with Lady Whistledown. If the person in question thinks that Lady Whistledown is a vital part of her personality, an aspect of who she is, limiting her by making her quit would just feel really, really sad, man. Lady Whistledown has caused Pen a lot of grief, however, and we see it a lot throughout the story, so I think Colin being there, sharing the secret and partaking would make her feel much more comfortable in her own skin.

Anyway. Love the idea, and would perish if it happened, but probably won't.

Colin and Penelope Bridgerton.

This one's more cute than anything else. Two writers as a couple release solo and joint works sometimes while establishing their reputation as respectable authors and leaving Lady Whistledown behind them. I can see another scene in my mind's eye, Colin and Pen are sitting across from each other on their respective writing desks, writing and then handing each other their work to review and give opinions, paired with a kiss after they start teasing each other about their writing. Considering that the designated Sexy Desk Scene has already been taken, this would have to be in a secluded area or in their bedroom. And then shots of people buying their books and enjoying them would ensue.

With the amount of journals and letters and things Colin's done, he's practically primed for an author's role. Maybe they can be more exposed to Colin's love for travel in this version. Having Penelope with him on his trips while writing their little hearts out would be adorable. Sadly, though, this would mean that they would probably have less screen time.

If you see Lady Whistledown as an outlet for the suffering Penelope was going through throughout the story, she wouldn't need Lady Whistledown anymore and abandon the alias because she's served her purpose as Penelope's coping mechanism, and Colin and Penelope would find their fix through other means. Maybe continuing to gossip but only between the two of them, going back to the beginning of the series and the final link to their relationship.

It's been established over and over again that they both love reading, writing, gossiping, and discussing all things philosophical. And each other for enjoying those qualities. So, I think this dynamic would be particularly interesting because it would be yet another way to connect. They could probably also make each other all hot and bothered by leaving random sexy letters sporadically, which would just be so fitting, tbh. However, that would also work for the Lady and Lord Whistledown dynamic so it's kind of a null point. It would be hot, though.

And, yeah, that's how I see those hypothetical dynamics playing out and how that would affect the characters. But now for the negatives. While I love the Lord Whistledown idea, I do think that Colin is a bit too nice and cute for that, and it would probably be a bit OOC, especially because of his personal experiences with Whistledown, it would be a bit weird if his tune suddenly changed to "yeah, I know gossip can ruin someone's life, but I like it now, so I don't care." But I also just can't fathom Bridgerton without Lady Whistledown, and this idea hinges on literally removing the narrator and source of all the tea, as well as making us lose our angel Julie Andrews. At least the Lady and Lord Whistledown idea fulfills almost all fronts of their relationship dynamic.

Again, as the GIF demonstrates, both are good, and I love both of them for the different ways they would take the characters, but let's be real, a combo would be really fun as well. Like Pen keeps up with Lady Whistledown while Colin writes his own books or smth.

Anyway, enough of my rambling. Bye.

[thecagedsong]

Okay, so I've seen a lot of complaints about the writing in totk, but I think the critiques are taking too narrow a view. Sure the arcs seem flat if you start from the point of Zelda and Link traveling below hyrule castle, but I don't think that's where you, the viewer, are supposed to start. You're supposed to start the story from the true ending of botw, and in doing so, the character arcs become not only beautiful, but complimentary and fulfilling. Spoilers under the cut.

Why should you start at the end of botw instead of the start of the game? Easy, because the game has to start in medias res, it's the nature of the game, but the story the game tells starts where botw leaves off.

They did this in botw. The game starts in the shrine of resurrection, but the story starts with Zelda's first journal entry/memory and the story is really about discovering your own fall and the rebirth that comes after destruction once hope exists in the light. The character arcs are about Zelda going from stubborn isolated powerless princess to conquering evil with the power of love. Link goes from the stoic knight that puts up with every expectation and falls to Link the amnesiac going at his own pace, at his own freedom, and succeeding.

The same way botw's story starts 100 years earlier, you have to start Zelda and Link's totk arcs from the true ending of botw. From the girl that had come to terms with her own powerlessness and sought to begin rebuilding from ash and the boy who fulfilled his one task, and is still choosing to use his freedom to help the dethroned princess rebuild.

The way Zelda is written is beautiful if you start from there. Because botw ended with her accepting that she had worth and duty beyond the golden power, and totk tells you how she showed that worth through service to her people. That girl that dreamed of being a scholar became a school teacher. That girl that had to fight so hard for her father's love and was convinced that everyone hated her own powerlessness? In her powerlessness she shared her knowledge with people and became loved for it. That girl who we left seeking the Zora, the only people that would remember her, when almost no one knows about the princess who was locked in the castle, is now known throughout the land. The girl that was missing for 100 years with only the sheikah remembering her, she disappears and the whole kingdom fights to find her.

The girl we saw walking away from the ruins of her home and her cage, listening to the distant goodbyes of her long-deceased loved ones, now has a home in Hateno where children run up to her house with just as much love screaming her name.

Now, in the middle of her arc, the start of totk, Zelda goes to confront the ghosts of Hyrule castle. In all her adventures in the time skip, Castletown and the castle are nowhere on the list. They are as destroyed as they were at the end of botw. BUT she has healed and grown, and is now strong enough, and ready enough to fulfill her duty, that she can return.

But she doesn't come back as it's princess, seeking to rebuild, she comes back as the archeologist, seeking to plunder its secrets. She hides the Champion's tunic there, (with a riddle involving light) and gasps in delight over all the archeological discoveries that had laid hidden beneath her feet all these years. She can handle the empty castle as a scholar.

But then she's in the past, and she's without Link, and she's meeting the people that established the kingdom she let fall to ruin. Zelda learns about the importance of being unified, as seen from her requests to the ancient sages, a central theme of totk. Zelda faces her own powerlessness when Mineru tells her there is no way back, and when Sonia begins to teach her control. Zelda immediately despairs over ever having the control and power Sonia wields, and it's the same frustration she had with her golden power when she was younger. But she asks for and accepts help this time (like she should have from Mipha in botw) and she gains control and power and it isn't enough in the past, but she knows how to make it enough.

Having united the sages, they watch her sacrifice in a sign of respect. The sheer ceremony of the moment is like nothing we've heard about what Zelda was like during the time skip. It isn't Miss Zelda the teacher that built a school in hateno, or Zelda the scholar that walked through Hyrule castle, it is once again Zelda the Princess making this sacrifice to swallow the stone.

It's meant to parallel the moment in botw where Zelda gets swallowed up by the Calamity. But you can see that she is surer of herself, centered, unafraid, and she does not ask Link to save her. She is not praying and looking back and asking Link to come save her. Instead, she tells him to save Hyrule. And it has meaning because she is also Zelda the scholar and Zelda the teacher and the thousand of other things we learn about her activities during the time skip. That is the hyrule she wants to save. That is the Hyrule she seeks to unite by asking the sages to bind their people to help Link in the future.

(She pressed the sword to her chest in a way that mirrored her stabbing herself, this time it is Zelda who died so that Link might live in the future.)

When Zelda tells Link that she's come home, you cannot say she has not changed from the homeless girl who had just learned to accept that her worth did not lie in birthrights and golden power. Zelda had learned her worth in the skills completely absent of any power, political or golden, but in the second half of her arc took up power and leadership again because that was what Hyrule needed of her. Because of the examples of Sonia and Rauru and because her fallen kingdom wasn't united and it needed to be. She is so much more complete than at the ending of botw, or even the start of totk. She has retaken the mantle of Princess, but she knows what it is about now and I don't know how else to say it if you aren't getting it.

Then comes Link, whose flexibility as the player has always required a less complex character arc, and probably deserves its own post, but I want to give it a quickshot anyway. Link leaves off botw probably still missing most of his memories, with the mastersword on his back, this time choosing to protect and walk with Zelda on her journey around Hyrule.

In the time skip, we learn that he sticks to her like glue. Princess Zelda and Link are perpetually paired by the people of Hyrule. Link barely even registers in people's memories without Zelda around, because he hasn't truly left her in all 5-7 years during the timeskip. He is known (again?) as 'Princess Zelda's loyal swordsman'. Is that a sign of him reclaiming some of his past life? Could be. What's important to learn about Link in the time skip is that he is no longer alone. Which is a big step from botw ending Link, who was always alone and had just begun traveling with Zelda again. From the rootlessness of botw, to saving Zelda, to making Zelda the place he always chooses to be, that's how Link's grown in the timeskip. He is no longer alone because he has Zelda.

He has someone worth fighting for now, he has memories of someone precious, someone he scours Hyrule to find. Link's freedom in botw was about discovering himself, but in totk, he is using his freedom to do everything to go to her. HE HAS A HOME NOW AND ITS CALLED ZELDA. Investigating rumors, walking into obvious traps, asking everyone and their dog about her. The goal of the game is to find Zelda. Bring her back.

And then you learn about Zelda's transformation. You see her crying. He pulls each of her tears and memories into himself. And this time it's Link asking 'do you really remember me?'. He has to take up Zelda's role and bring the amnesiac back to herself, give her back her memories. The job's not done because he found her transformed, she needs her memory back, it's not done until she's back and knows herself.

This arc is coupled with Link confronting his own failures. He was at the height of his powers when the demon king Zapped him and he let Zelda slip through his fingers. He failed her, just like he did before. And the people that do recognize him without Zelda all ask him where she is, and he has to admit he failed to them too, something he didn't have to do in botw.

But unlike botw, where he failed and the solution was to get strong enough not to fail/be strong at the same time Zelda is, in totk, the solution is to unite with allies. Unite the tribes, accept their help, and only then is Link and crew strong enough to take on the demon king.

It is only when he also takes up the mantle of Rauru and Sonia and unites Hyrule into a single force, it is only when he accepts aid from the past and pulls their vision of hyrule into the future, that he gets Zelda back. Zelda needed to learn how to take up being a princess again for the sake of Hyrule. Link needed to learn how to unite Hyrule for the sake of Zelda.

And though I would have liked Zelda to be a little dragonish, or Link to deal with being an amputee, it doesn't bother me that much because their arcs weren't about that. I don't think it makes the stories bad writing.

But you have to start from the true ending of botw to get that.

[chubs-deuce]

Ok I just watched whole hazbin hotel show and I know what you mean about Charlie and Vaggie relationship

their have cute songs together but Vaggie to me personality wise hasn’t got that much of a personality compared to the others characters ?

I think the last 2 episodes she had more of a personality 🤷‍♀️ (this isn’t a anti post , I feel like she has a lot of potential to flash her character out more hopefully in season 2)

personally I prefer Charlie and Alastor cause I feel like theirs something there, it’s interesting and it has a lot of potential

if they wanted me to root for Vaggie and Charlie I feel like they should be friends at first and then we see them slowly falling in love , that’s my opinion of course XD

Agreed 100%

To be fair I don't think charlastor is inherently better in any way, since I recognize that they don't actually have much of a leg to stand on in canon, but they still intrigue me a lot more conceptually in fan-content, in ways that I've outlined in this post already so I won't repeat myself here lol.

Charlie and Vaggie are sweet, unproblematic, thoroughly wholesome and that is a dynamic that can not only absolutely work but also be very appealing!

Good domestic fluff is my bread and butter, but it just doesn't really hit the same when I'm not really given much of a reason to care for the pairing beyond the narrative going "look they hold hands and use pet names, isn't that cute?"

So I agree that having their "falling in love" stage be explored more would've helped a lot in elevating how and why they love each other, though it wouldn't even have been necessary, established relationships in fiction can work really well even without that if done right.

The way they're shown to first meet has SO MUCH POTENTIAL to be a great story bit to explore (I might try and do that in writing some time ngl), with Vaggie just coming from this intense of a betrayal, likely having her whole worldview usurped and now, after being taught all her life that demons are worthless scum, being shown unconditional kindness and offered a helping hand from one... There's a lot for her here to process!

Like I really feel like her repeatedly underlined trust issues could've so easily led into a sweet narrative of how meeting Charlie taught her to trust in others again, but her "learning to trust others" path was already explained with brothers-in-arms style bonding on the battle field and the rest was just kinda played off as a love at first sight thing. It had potential! It was right there! And yet!!! [frustrated groan]

I get they were probably trying to aim for combining those two points and had very little time to do so properly, but it imo just missed the mark by a painful amount...

It doesn't help that Vaggie also generally fell kinda flat as a character for most of the show, in part because she's often forced to share the spotlight and has very little focus put on her as an individual.

I really hope they do her better in the next season either way :')

I haven't given up on chaggie yet, but only time will tell if that changes.