#but no. just a choice where ultimately nothing happens but a map change and you don't get a mission/certain cutscenes

[waspgrave]

now there was no reason for lucanis to be given purple johnny silverhand as a plot point and then never have the purple johnny silverhand utilized except for maybe 3 or 4 times in the game (if you saved Treviso, otherwise it's twice) and dialogue. Dialogue where he pretty much just says weird and funny things and occasionally gets scolded like a dog which is entertaining sure but there is Literally A Demon In One Of The Companions Why Is This Not A Bigger Deal

[iovetecchou]

That Funny Feeling ⧸ Dazai Osamu

༞ Contains...! !TW! this fic contains heavy topics such as: suicide, depression, anxiety, and self-deprecating thoughts. hurt/comfort type beat, hugging, gentle touches, hand holding, swearing, suggestive implications but NOTHING actually happened! kunikida is just silly, dazai really is a sweetheart in this ):

༞ GN Reader.

༞ 2,494 words.

a/n: if you have struggled with your own mental health past or present, just know that you are not alone. i love you and am so proud of you for still being here and pushing through each day, no matter how difficult that can be. never be afraid to rely on someone close to you when things become too much to bear, you are worthy of living and deserve to be loved.

Some people just aren't cut out for life. We are all dealt a hand, some cards interchangeable. But for the most part, they mold us; and make us who we are. They map out the rest of our lives. So what are you supposed to do when all the cards you've been handed don't play in your favor?

Even the interchangeable cards; you discard them only to pick up more rotten ones. Your judgment is poor, and your decision-making only gets you stuck between a rock and a hard place. 

You envy the people who were gifted better cards. People who were not condemned from the start. Those are the people who make something out of their lives, the ones who are deserving of taking up space.

You know this sounds self-deprecating, and yeah, it is. But to you, it's also logic. You think that's why you dislike Dazai Osamu.

When he talks so freely about death, his desire for a perfect suicide. It makes your stomach turn, not for obvious reasons, but for selfish ones. He plays off his pain as a joke so no one thinks twice about it when he asks a pretty stranger to "commit a double suicide" with him.

You try so hard to conceal your suicidal thoughts, hiding your depression behind a pretty mask. Showing up to work each day with a smile on your face and a "can do!" attitude. 

You and Dazai really are the same in that aspect, masking your pain so it's less noticeable to others around you. 

Your abdomen twists into knots when he talks so freely about suicide because it causes your mind to wander and your mask to slip. Dazai always seems to pick up on that slight change in you when it happens, too. His chestnut eyes bore holes into your profile from where he sits beside you. You can feel his eyes on you as you try to smile brighter, putting on a chipper face as Kenji updates you on how the cows on his farm are doing.

You hate it. It feels like he's reading your mind; retaining all your deepest darkest secrets. Does your face really give you away so easily? No... It can't be that. You've been working at the Detective Agency for a long while now, and since then, no one else has ever assumed something was wrong with you. 

If they only knew how pitiful your life really was. As much as you love all your colleagues at the Agency, you hate working. Waking up is exhausting, and you dread the repetitive daily routines you're forced to accomplish. On your off days, you sit at home alone- by choice. Interacting with others is draining, and when you're urged to participate in social activities, the anticipation and anxiety eat away at you until the day finally comes. 

Much like today, the day you've been letting eat away at you since the mention of a work party was brought to your attention. You practiced different smiles and laughs in the mirror, shaking your head and trying again when your "act" seemed too unnatural. You probably changed your outfit ten times before ultimately deciding on the same old thing you usually wore. 

Your hands were coated in perspiration as you balled your fingers, making a fist. You took in a shaky breath as you brought yourself to finally knock on Chief Fukuzawa's door. He welcomed you with a tight-lipped smile and a nod of his head, stepping aside to let you through. Immediately, you felt his eyes on you. Dazai watched your little performance as you greeted everyone, and when it was finally his turn to watch your act up close and personal- you froze. 

His eyes were too intimidating. You felt exposed in front of him. It irked you that he had such an effect on you. Why was it so easy to pretend with everyone else but him?

"Aww, where's my greeting?" Dazai smirked devilishly at you, raising his eyebrows slightly as he leaned in close. All-encompassing, invading your personal space. 

You remained quiet. You were on the outside looking in, screaming to yourself to say something- anything. Your gaze shifted to the floor as your hands came up to bunch up the hem of your shirt, rolling it between your fingers; an attempt to self-soothe. 

"I..."

"Oi! Stop teasing them, Dazai," Yosano shouted from the kitchen, plum-colored eyes still fixated on the fizzy concoction she began making for herself.

The sound of Yosano's strong voice ripped you from your stupor. Your head shot up, only to notice Dazai was still gazing at you- studying you. 

"I would do no such thing! I'm hurt that you think so low of me, Yosano!" Dazai's intense gaze finally eased up on you as he whipped his head around to face Yosano. The tall brunette man clutched a hand over his heart in feigned affliction. 

You took that as your opening to slip away, excusing yourself to the restroom. You hardly noticed the way Dazai's attention was drawn back to you at the sound of your hurried footsteps. "Hey- wait up!" 

You quickly pulled the bathroom door shut behind you. You could hardly look at yourself in the mirror, too ashamed of yourself for freezing up back there. The cool tile floor welcomed you as you sunk, curling into yourself. You hugged your knees as they drew closely into your chest. You could feel your rapid heartbeat in your throat, anxiety rising by the second.

"You know, I wouldn't be sitting on the floor if I were you. Let's get you up." Nothing registered until you felt firm hands grasp your biceps. A strong force drawing you up to rely upon your shaky legs. 

"Why- what are you..?" Your sentence fell off. You weren't entirely sure what you were trying to ask. Your mind was too convoluted with disappointment; shame for yourself. 

"The door was unlocked so I figured I'd let myself in! You weren't looking too hot out there, and I wanted to check up on you." Dazai's warm hands still cradled your biceps, untrusting the support your trembling legs half-heartedly gave you in your current state. 

"I'm fine," You chuckled out of nervousness before continuing, "I'll be out in a minute, so you can just go." You could tell by how Dazai looked at you that he didn't buy your lie, not even for a second. 

He let out a deep sigh, large palms moving up to your shoulders before he blurted out, "Stop, just- just stop. You're not fooling me, so quit it with the peachy-keen act. Why do you insist on hiding behind a facade?"

"Why do you?!" You shouted back. You brought your hands up to swat his hands off your shoulders. The shift between distress and rage made your legs feel more grounded. 

Dazai gaped at you for a moment. He genuinely looked taken aback before his face shifted into a tepid expression. He let his arms settle against his sides, his demeanor appearing more taut than usual.

"This isn't about me. Stop deflecting." His voice was eerily calm, making you feel unsettled. Seeing a more serious side to Dazai was far and few between for you. 

"But it is! I hate you... I hate you so much. You- you..." Your vision began to blur as tears spilled past your lashline and down your sullen cheeks. How embarrassing, you thought. Crying in front of the man that made your stomach turn. 

Dazai brought his hand up to your cheek, brushing away the onslaught of tears with the pad of his thumb. "I believe that hatred is displaced. You just don't want to acknowledge that."

Your eyebrows scrunched up in confusion as you drew your hand to grasp his wrist. You tugged with all your might to pull him from your cheek, but no give. Dazai stubbornly kept his large palm on your face. The warmth from his hand seared your skin. It was neither comforting nor unpleasant. Just... unfamiliar.

"You're wrong, I hate you-"

"No, you hate that you see yourself in me."

Your hand fell from his wrist. He was right, and deep down, you knew that. But you refused to admit it. It was shameful. You liked to hate Dazai because it took attention away from the real problem at hand, yourself. 

Dazai let out a sigh as he continued to wipe away your tears. "Tell me to stop if you hate it, but I'm going to hug you now." Before you could process, Dazai embraced you. His hand that was caressing your face only moments ago now cradled your neck. His other arm wrapped around your frame, enveloping you.

"I understand your pain well... I can see myself in you too. But I don't despise you, you know. I actually... worry for you. You try so hard to pretend that everything is fine. It must be exhausting."

It felt like your heart was being squeezed, as if your ribcage was collapsing in on itself. His words shot right through you, as did the guilt. You had been so unfair toward Dazai up until now. Using your displaced disdain for him as a distraction because you were too much of a coward to hold yourself accountable.

It ached so much to come to terms with. Your arms felt heavy as you pulled them up to wrap around Dazai's lanky frame. You quietly sobbed into his chest, grasping your hands into the back of his shirt desperately; as a small child would cling to their mother. 

Dazai hummed softly into your hair, welcoming the silence with open arms; as he did you. You were sure all your colleagues were wondering why Dazai and yourself had been in the restroom for so long, but you hardly cared at this very moment. 

For the first time, in a long time, you felt seen. Like you didn't need to hide when Dazai was in your presence... because even if you did- he would know. Being vulnerable felt similar to what you imagined walking a tightrope hung across two tall skyscrapers entailed. So, to say you were apprehensive about this was an understatement. 

However, in the same breath, it felt freeing. It took a little bit of weight off your shoulders to share your burdens with another person. But never in a million years did you think the person who brought you solace would end up being Dazai Osamu. 

"I'm sorry, Dazai- I'm so fucking sorry. I-"

"It's okay. Believe me, I treated people a lot worse than this from my own displaced hatred," Dazai interrupted. Caressing your hair softly, hyperaware of the wet feeling seeping through his shirt and smearing over his skin from your tears before he continued, 

"Just... just promise me you'll talk to me if it ever becomes too unbearable to handle on your own. I know how it sounds coming from me, I'm a hypocrite- huh? But trust me when I tell you… you are deserving of this thing we call living. Even if you can't see it yourself, I can... and I will remind you of that fact until I'm blue in the face if I have to." 

You pulled back from Dazai's chest as you sniffled, eyes scanning his stoic face. He smiled at you softly, rubbing up and down the sides of your arms in a comforting way. "There you are. I was beginning to think you cried your face off!" You chuckled at his dumb quip, letting your fingers untangle from the cloth adorning Dazai's back.

"Well, this is embarrassing... and I'm sure at this point all the others think were up to no good in here." It was Dazai's turn to laugh as his hands drifted lower, grasping yours softly. Your fingers intertwined as a lopsided grin painted your face.

"So let 'em! Who cares? The only thing that matters is that your heart is beating and you're here. Still standing in front of me." Your smile dropped slightly, the urge to cry bubbling back up, making your throat tighten.

"Dazai," You tightly squeezed his hands within your grasp. Scared that if you loosened your grip for even a second, this moment would be gone before you could say everything you needed to. "I'm really glad you're still here, too."

Dazai closed his eyes for a moment, his smile wavering. "There's so much pain in the world... sometimes it's hard not to notice it. I couldn't shut it out every time I felt your distress. That's why I kept a close eye on you all this time. I'm not just some creep with a staring problem,"

You both laughed at that sentiment before he continued, "I know with each day those painful thoughts are waiting for you. But it's not only that, there's also possibilities. Possibilities you can only discover as long as you're alive."

Your hands still clutched his with great force. His words caused you to cry once more as Dazai's eyes softened. He quietly cooed at you, whispering "don't cry," so gently, it was almost inaudible.  

"Dazai... I hope you know the same can be said for you, and your life," You paused, trying to swallow that lump in your throat before you continued. "I... want to help you- help you live. I know it doesn't mean much coming from me, but as long as you're still here I will do whatever I can to help you. I swear it."

Your tear-filled eyes bored into his chestnut ones. Desperately hoping your words got through to him. Dazai inhaled a shaky breath, eyebrows raising slightly. His lips curved into a tight-lipped smile before he let out a small chuckle. "You're really something else, you know that? Not even ten minutes ago you were shouting about how much you hate me. Now we're best buds... how cute!"

You knew he was deflecting, you guessed being vulnerable was just as daunting to him as it was for you. Before you could say anything more, the door flung open. Both Dazai and yourself whipped your heads in the direction of Kunikida shouting. 

"Dazai! Just what do you think you're doing- wait a damn minute! What did you do to Y/N to make them cry?! Get away from them this instant you damn pervert!"

Kunikida gripped Dazai by the collar, dragging him out of the restroom. When your hands untangled from his, you felt uneasy. There was so much more you wanted to say, but it would just have to wait... for now. 

You couldn't help but chuckle to yourself at the sound of Dazai shouting for you to help prove his innocence from presumably the living room. For the first time since you stepped into the bathroom, you looked at yourself. Taking in your disheveled state.

Ah, there it is again. That funny feeling. 

don't accuse me of making this a self-insert, i will cry!

[illogarithmil]

I've not really played Minecraft in half a decade+, when all the worlds on my old account stopped loading. That said, I think the reason I still periodically go back to it (either as idle interest in changes or to actually play when I'm too tired to do anything else) where I don't with pretty much any other video game isn't just the checks notes third of my life when it was competing with Warhammer as my main fandom - it's something about it as a game that does things nothing else does.

By way of comparison, the only other computer game I play is CK3. But if I want to experience that kind of genre and focus, I can read any of a slew of historical chronicles or especially great-man-y works of actual history;* or I can turn to mediaeval historical fiction; play a dynasty-building board game like Blood Royale or a medieval strategic wargame map campaign; there's even some TTRPGs that capture the human-scale part of it, though I do think mediaeval high politics is a genre that could be explored more there outside Pendragon.

What's doing the same things Minecraft does? That vast procedural world, all but empty except for you, a few other humans bizarrely different from you, and an enormous number of monsters, many of them humanoid undead; the ruins and lost realms and other dimensions, the general sense that amidst all the endless randomness things have been built before and the encouragement to do so again? The very specific magic (magic as something anybody can make with the right, very expensive ingredients, but which you certainly can't wield willy-nilly). The constant striving for resources, especially through the early game. The ridiculous, deliberate gaminess of it all, the willingness to completely waive any attempt at simulation in favour of links which still intuitively make sense (diamonds are hard, obviously they make the best armour!) The monster design, which is full of unique and bizarre things that I really wish I could steal for D&D campaigns without anybody noticing. Probably the closest thing is actually early D&D, with the players venturing into a vast, hostile wilderness to survive random encounters, make their fortunes, and ultimately rise to lordship of the land; possibly in one of its OSR variants that replaces classes with item choices, like the excellent Iron Halberd. But even there, it's very clearly a different genre which happens to rhyme. And if you try to do something similar outside the medium of a game, in a novel, say, somewhere where the deliberate abstraction from the normal rules of reality isn't taken for granted... as far as I can see, it'd read either as constructed mythology or minecraft fanfic depending on the author's skill.

I think this probably account's for the game's continued popularity to some extent, and certainly it accounts for my own continued interest. *Once I'd have said 'any work of mediaeval history published before 1920' but Burt & Partington's Arise, England! is like this and was published a couple of months ago...

[adventures-in-a-world-of-fiction]

If you've played The Witcher 3, what do you think about the parts of the game where you play as Ciri? Because I find these sections frustrating more than fun and I'm wondering if I'm alone in that or if other players share my opinions.

I think it's the contrast between the amount of agency you get as Ciri compared to Geralt. Most of the game, you play as Geralt and you can decide to do side quests and monster-hunting contracts, or wander off to look at something that looks interesting on the map. You can solve problems in different ways, or make choices that give you a completely different branch of gameplay (deciding whether to stay and investigate the bears at the feast with one person or go after the people another character thinks was behind it gives you a completely different sequence of events and results in a different character being made ruler of a country). You can choose to kill or spare monsters on multiple occasions, and whether you spare specific ones alters how difficult a later quest is. You pick the equipment you wear. You decide how to spend character points as you level up, giving you a skillset you've built yourself. When it comes to combat, you can throw bombs or shoot a crossbow from a distance, you can use signs, or you can charge in with your sword, and you can prepare with potions and oils that give different buffs and benefits.

Sure, when you play as Geralt, there are a few quests that are a little railroady. When you start on a few of the quests, you're committed to that quest until the end, but most of the time you can wander off mid-quest and go do something else if you feel like it.

With Ciri though, you don't get any of that freedom. Most of her sequences are flashbacks and you have a defined start and end point. Take Dandelion's story as an example. There's a cutscene in Whoreson Junior's house and then you have to fight your way out, then you have to ride up a short stretch of road, then there's another cutscene. You don't have any options to deviate or do something in a different way. If you don't fight/escape on horseback then you die, reset to a save point, and have to try again. About the biggest impact you can have as Ciri is deciding whether or not to take a sauna. You get these short sequences that have to be played through in exactly the way that they're presented to you. There are a couple of minor choices you can make that have no impact on the overall outcome of that railroady segment.

While playing as Ciri, you don't have equipment you can use and you don't have signs, so you're basically stuck with sword and dodging. All of that freedom to decide how you want to approach combat vanishes.

It feels like the Ciri segments were an after thought. It feels like while they were planning this story, they realised that there would be a large portion where Geralt is trying to find out what happened to her and will be getting these flashbacks as other characters narrate events to him. They could have been delivered as cutscenes, but it feels like someone went, "Hey, these are a lot of cutscenes, why don't we let the player play as Ciri in these bits so they're not just watching a story?"

But then to justify it, they had to find ways to force an excuse to play as Ciri and give you choices that don't ultimately change anything. Whether you win or lose the horse race to the Baron means nothing. Whether you say that a guy seems nice or that you prefer girls when his sister comments on his crush, it doesn't alter the game's progression. You can't change the story as Ciri because the main narrative for a significant portion of the game is Geralt following the trail she's left. The couple of occasions you play as Ciri later are really jarring because you're suddenly thrown into another character for a brief sequence in the middle of battle in a way that breaks the immersion.

I would have enjoyed it more if they'd either committed to it more, or cut it entirely. Either give the player enough agency as Ciri that it impacts the gameplay you experience as Geralt (and let you control your gameplay style as Ciri through using a separate inventory for her), or just show her journey in short cut scenes and don't force me to play short sequences that I have no control over.

Anyone else have thoughts on this?

[kig98]

Real Lives (2007)

This game was a journey to search. I was thinking about it for a while now- searching up keywords about the game: "old", "map", "global game," "old windows life simulator." I didn't know the name so I kept doing the same thing every couple of months and nothing. It wasn't until I gave up that I found the game. I ended up just clicking through links until I saw a description of a game that I felt clicked

Real Lives is a unique, interactive life sim that enables you to live one of the billions of lives in any country in the world. Through statistically accurate events, Real Lives brings to life different cultures, political systems, economic opportunities, personal decisions, health issues, family issues, schooling, jobs, religions, geography, war, peace, and more!

I was shocked to have found it! The only reason I played this simulator was that in middle school, there was an initiative where kids can get free equipment, and it was pre-loaded with these old games like a crossword generator.

The game is made simple- every time you open the game, you are given a random life from any part of the world. And you see the events that happen to you through text logs and then you must make choices given by the game based on your circumstances. The game can be heartbreaking, sometimes life was rough and you died young, and other times you get to have kids! It was really interesting, and you are led to make moral decisions. You get a health bar, along with intelligence, instrumental, strength, etc. bars that change based on your decisions and ultimately the hand that was dealt to you.

[sepublic]

Through the Looking Glass Ruins!!!!!

         …

         SO! Onto other things first…

         WRATH IS BRAXAS’ FATHER!??!!? HOLY SHIT, Wrath is a canonical dad, I’d always expressed my… OH MY GOD WRATH IS DAD! And of BRAXAS, that sweetie… How is Braxas such a sweetie with a father like HIM, also-

         Wrath was in casual wear? Either he has a day off, or he got fired by Belos/Kikimora after drawing Luz a map to Eda in Young Blood, Old Souls! Either way this guy has a sudden new level of NUANCE that I am reeling from, and yes I checked, that really is Wrath according to the credits! Dang this puts everything in a WHOLE new light…!

         AMITY HAIR OHMIGOD IT LOOKS SO ADORABLE SHE’S SELF-ACTUALIZING I AM FUCKING SCREAMING HOLY SHIT OH MY GOD!!! OH MY GOD OH MY GOD, it’s PINK and not green… They acknowledged it, Emira did! And they CHANGED IT I AM LOSING MY FUCKING MIND OVER THIS-

         She looks so BEAUTIFUL and I love the kind of foreshadowing with the bookends of our first shot of Amity having her hair down, and now it’s changed! And she looks adorable and EMIRA AND EDRIC BEING GREAT SIBLINGS I LOVE IT SO MUCH! This… THIS is everything I wanted! I was resigned to not much of them but HELL YEAH they’re being good siblings and we get a look at their rooms, we see them doing MAKEOVERS together this is everything from my favorite fanon content and MORE,

         Also Edric has a date?! Emira says ‘their’ mom… Unless the Golden Guard has a mom, DARN! Not gonna lie, I half-expected a big twist at the end that Edric was dating the Golden Guard, who was doing some sort of reconnaissance as his unrecognized normal self and/or screwing around with the Blights even further, but in a GENUINE sense… But then who knows Kikimora could be posing as GG’s ‘mom’, this is a stretch anyhow-

         JUST HELL YEAH Blight Twins! Blight Twins being sweet and mischievous and supportive of each other, Blight SIBLINGS being siblings, Emira being an older sister and giving advice! And AMITY, Amity mentioning how much Luz has changed stuff, I love that they acknowledge it openly how her life has completely shifted, and now… NOW…!

         No necklace! Red leggings! PINK HAIR?! Is this why Amity in the intro hasn’t been updated yet… She was getting TWO updates, so the animators decided to only animate a change after this final update?!

         King and Gus are also friends it seems, and they even recorded some fun together! I’m surprised at how much Bria and the others mock Gus’ illusion skills… Obviously Belos is kinda terrible but like; I don’t think he’d set aside an entire subset of magic into Illusions without reason! Also that nightmare trip… I LOVE IT, I love Gus applying the creativity of illusions in their ability to completely warp and distort someone’s sense of reality! And I called that dragon-thing being an illusion!

         A graveyard… I wonder if the Gallderstones (is that how it’s spelled) have any relevance or if they’re just neat? I hope Mattholomule and Gus help hide the Looking Glass Graveyard… Damn, that’s another Death reference with Gus, huh! Is it culminating in his respect for the dead, or will it continue further with Gus being a necromancer, or an Oracle who can commune with the deceased, and he has their respect as someone who treats them properly?!

         Also not to get dark but… What if all those Illusionists are dead because of Belos? I’m JUST SAYING…! And not gonna lie, every time someone insulted Illusions, I kept imagining the Illusion Head just suddenly waking up and feeling like there’s a disturbance in the force, as well as a weird compulsion to beat up some Glandus kids. It’d be even funnier if he had beef with the Construction, Plant, and Abomination Heads as well!

         Speaking of which, more confirmation on Construction Magic being related to earth! Glad to see Bria give us a look into that, which furthers my idea of Belos using construction magic… Also dang, Bria and the Glandus Kids really are the parallels/foils to the Detention kids! You’ve got the short ‘nice’ girl, the tall lanky kid, the furry… But the Glandus Kids start off looking nice and cool, but turn out to be rather nasty!

         Meanwhile the Detention Kids seem like bad news and delinquents, but no! They’re just demonized and actually very kind and chill! The Detention Kids are looked down upon, the Glandus Kids are appraised… The Detention Kids are dual-track, the Glandus Kids are singular; Glandus Kids from, well, GLANDUS, Detention Kids from Hexside… One’s ‘mischief’ is actually very neat and cool, the other’s is literal grave robbing.

         I guess that’s how the bleeding statues got past the censors- It’s technically just an illusion! Also more insight into how Glandus works with its Survival of the Fittest mentality, I wonder if we’ll get confirmation on which coven heads came from there, how that might influence them as adults…

         What is Glandus like, is it more whole-heartedly accepting of Belos’ rule, hence its harsh ideals? Was it made after Hexside? Does Bump hate it for being so cruel like that, or is it just school bias? And dang poor Mattholomule, I always had a feeling he sort of felt and knew that he wasn’t much, so he accepted and compensated by deliberately doing whatever he can for power…

         They confirmed he’s from Glandus, and I appreciate this new look at him! This new leaf turned… Hot take but he’s honestly not as bad as Boscha, his stint with Gus was a one-time thing that Gus was able to live with! And that seems pretty good to set them up as friends! Speaking of Boscha, Willow was injured by pixies? And the last time we heard of pixies, they belonged to Boscha and caused the school to get shut down… Did BOSCHA DO THIS I SWEAR SHE IS DEAD TO ME-

         (Also she’s mentioned in the credits for this episode but I don’t remember hearing her? I might’ve gotten distracted with so much other things.)

         Gus! I like the insight into his relationship with Illusions, and I appreciate how he’s considering other forms of magic… But this hesitation might just serve to reaffirm his believe in Illusions, which is okay! It’s all about choice… And yeah, it seems Gus also has a case of impostor syndrome like King, no wonder they get along so well! I love the glimpses into Gus’ house and the confirmation that he has a library card, no Perry though alas…!

         I appreciate how Gus feels overlooked, like he has no real substance, which is how his Illusions reflect a desire to draw attention, but also the idea that there’s nothing real beneath them… Again, very much like King! And Gus, he’s not a powerhouse like the rest, he’s SKILLED and smart, but strength isn’t his forte, it’s not brute force he operates on, but cleverness! Trickery, I like it…! It’s a nice callback to his last A-plot episode, SVSF, where instead of fighting Mattholomule physically, Gus’ solution is to think outside the box and pull the alarm!

         You go kid, not relying on brute strength but showing that some clever tricks and thinking are just as valid! Kinda wonder if this episode is lowkey a discussion on masculinity for young boys, especially with Gus growing older with puberty, though the latter is mostly because his actual VA grew… But maybe the writers rolled with that and incorporated it, or it’s just a very neat coincidence! Also, it is me or did Mattholomule’s voice change? And the gag that Gavin’s dad looks identical to him, even moreso because he’s NOT supposed to have a moustache… That’s great!

         Malphas! Love this reference to a classic demon, I wasn’t sure if Malphas was the librarian with glasses whom I’ve always headcanoned as a father figure to Amity… But maybe it’s actually this bird dude! He seems adept in Bard magic, and I love the reveal of his true crow appearance… Guess those theorists were right that the one-eyed figure is from the Forbidden Stacks! Also Malphas NOT COOL with Amity, but I’m glad Luz changed his mind, and I wonder how that adventure looked…

         Which- DAMN, the RSD with Luz! She looks so UTTERLY BROKEN when Amity mentions doing stupid things, and she didn’t mean it like that, but Luz just looks so completely shattered and you can tell she wants to cry but instead she bottles it up and tries to take it in stride, and that plays into her trying to overcompensate for her mistakes AGAIN… SOMEONE GET IT TO HER HEAD that she doesn’t need to! I’m scared for Luz, and I was SO scared this episode would end on a bad note…

         BUT DOAHLDdFAEONDKFHN LUMITY KISS LUMITY KISS! ONE-SIDED BUT THEY FINALLY FUCKING KNOW AND AMITY IS LIKE WHAAAAT AND I WAS WAITING FOR IT AND I COULD FEEL IT HAPPEN AND GAY KISS! GAY KISS ON-SCREEN!!! And the way Luz just FLOPS to the ground on her knees AAHJJFFKHGGK and no Alador nor Odalia to ruin this, UTTERLY PERFECT and the twins WATCHING OOOHHHHGGGG YYYEEAAAAHHH-

         This is EVERYTHING I ever wanted!

         What an AMAZING episode with wonderful characer beats and reveals! Again, Amity’s growth as a character, that brief insight into how Luz as a person is very chaotic and sometimes frustrating for Amity and forces her to reevaluate, but ultimately it’s good and Luz DOES try her best, and Amity clearly wanted to make things up for Luz and apologize, they’re BOTH doing things, just the little moments!

         Also, Alex Lawther voices Philip Wittebane! He has long hair and a vaguely british accent, he’s… He’s Belos isn’t he? And they got a new VA because having him voiced by Matthew Rhys would be really spoiler-y right? He’s got the long hair and he’s a nerd… And with how he talks of finding a way back home, maybe Belos really DOES just want to return home, after all? He talks of making a way back home…

         And we see a glimpse of the Portal, so it might’ve brought him there? Or did Philip succeed in making it, and that was his blueprint designs? Did he arrive by Titan’s Blood? What happened to the portal if it brought him there, or if he made it? Why the scar, why near Eda’s house, partially buried?

         Was it lost before he could finish his work, and Philip got side-tracked into something else… Perhaps going on a crusade, on behalf of a curse/demon that possessed him? A demon that killed King’s father…? Was the portal broken and he had to discard it, but then it naturally healed- Or did it just need to recharge, maybe Philip DID make it back home, WHAT IS THE ANSWER?! Is there some sort of doppelganger for Philip, is BELOS his doppelganger?! What is THIS WHAT-

         WHAT AN EPISODE!

[rachelbethhines]

Tangled Salt Marathon - Be Very Afraid

This is the best story arc episode in season three and arguably the best written episode since The Great Tree, but it’s still season three so there are still issues with it. 

Summary: When Zhan Tiri tells Cassandra she must destroy Rapunzel in order to wield the Moonstone's true power, Cassandra discovers that she can create, with fear, red rock spikes that cause fear and freeze their victims. Varian discovers the red rocks and teams up with Rapunzel to use his amber solution on them. Meanwhile, Eugene and Lance decide to throw a talent show to distract everyone from their fears. 

Why Can’t Cassandra Control The Rocks?

The series never gives an actual explanation for this. She could control them just fine in Rapunzel’s Return, so what’s changed? 

There is No Destiny!

There’s no prophecy, no oracle, no grand design nor master of fate to fight back against; the characters literally have no reason to do what they do. If you want destiny to be a goal then you have to establish what that destiny is first. 

What does Cassandra want? How does this connect back to Gothel, Rapunzel, and the Moonstone? Why she just failing about like an idiot here? Did she not have a plan when she threw her life away for this stupid rock? 

And of course Zhan Tiri is lying here, but why should Cassandra believe her? What does she gain by listening to a creepy ghost girl? This ‘destiny’ has not been established, so therefore there’s no hook nor bait for Zhan Tiri to trap her with. 

Leading directly into “you should kill your bestie’ should logically put Cassandra off of Zhan Tiri’s advice for good because Zhan Tiri isn’t actually offering anything. Temptation requires the person to be, you know, tempted by what they want, but Cassandra doesn’t know what she wants so none of this makes sense. 

The writing is desperately trying to make Cass sympathetic here, but all it winds up doing is making her look like a moron instead. 

This Isn’t Consistent

Not only does this fail to explain why Cass could control the rocks previously but no longer can, but it’s also contradicted just a couple of episodes later with the incantation bullshit. 

You need an established magic system in place in order for the character’s actions to make sense show!

This Ultimately Goes Nowhere

Ignoring how Varian should have been in season two and how translating the scroll should have led to freeing his father, which we’ve talked about previously; this subplot should have had more impact on the narrative than it actually did. Yes, Varian’s translation winds up driving the plot of Cassandra’s Revenge, but 90% of that episode winds up being utterly pointless, including the incantations themselves, so.... 

I Like This Sequence; Shame It Winds Up Being Undermined Later  

Unlike the majority of dream sequences in this show, this nightmare has an actual point. It more firmly establishes Varian’s fears and gives the audience some insight into what happened to him back in season one. Something we were sorely lacking. It also becomes the core conflict and drive of Varian’s character development through out the episode. 

Only for the episode to ignore Varian’s real issues and fail to adequately address anything. By series end this plot point will be completely forgotten. The show acts like bringing it up once and then never acknowledging it ever again just magically revolves Varian’s character arc. It doesn’t.  

So How Come Quirin Isn’t Affected By the Rocks? 

He’s right there next to them and he shows no reaction to them at all. You’re telling me the man who lost his home twice to these things, almost died to them, and nearly lost his only child because of them, is just not going to respond to new creepy red ones popping up? 

Quirin would have a treasure trove of trauma to explore in his own right, that undoubtedly would connect back to Varian’s own issues, but we’re just going to ignore it and have Quirin off screen for the majority of the episode?

Are These New Character Models?

Are you shitting me!? 

They built five new models just for a short two minute scene, one where none of the new characters are named nor given lines, only to never appear ever again!

What the fuck? Why did you waste time and money on this? What happened to all of the other background characters you already built? Did a bunch of season one models just get lost or deleted or something? 

Also why are they all wearing green? Is it St. Paddy’s Day? 

This Plot Point Wasn’t Established Enough Beforehand

Look, I’ll buy that there are people in Corona who still blame Varian for what happened in season one and for the Sapoiran take over. I mean they’re only getting half the story and were directly effected by his actions whether or not he intended harm to them. But we needed to see more of it beyond just this one scene.

No one was bullying him in Lost Treasure or The King and Queen of Hearts, so for all purposes he appeared to be integrated back into society, and now you’re telling me he’s not and that Rapunzel risked his well being by forcing him to interact with people who were hostile to him back in Lost Treasure? 

And yeah you can’t really move Lost Treasure back any further than it already is cause that’d leave a giant hole in the wall of the throne room for over a year. Which also makes no sense either. 

Or hey, maybe it’s just Feldspar being an asshole. In which case why should Varian or the audience care? 

Eugene is Wasted

Look I understand that there’s only twenty five minutes to tell this story and that Eugene isn’t the focus of the episode. I also understand that the B-plot is meant to be comedic in order to relive tension from the A plot, but this wasn’t the best way to go about it. 

The B plot swings too far wide in the other direction that it dilutes the tension too much. The A plot now has to work over time to keep the urgency going. I could understand it, if the show wanted start off with small fears first, but it needed to ramp up the drama as it got closer to the climax, not under cut it. 

We never see Eugene freak out over anything other this this cowlick. In fact we never see him scared of anything else beyond this one scene, which undermines Rapunzel’s arc this episode as she’s suppose to be the only one bottling things in. What makes Eugene so special that he can keep a lid on it with out consequences, or are you telling me that a dumb cowlick is his only fear? 

Either answer is stupid. 

I Hope You Have Copies of the Map

You went through all that trouble to steal the journal for this very reason and now here you are prancing around without it like it’s not that big of deal. Way to undermined past story arcs. 

It’s like the writers know that season one was their most successful season, and therefore try to make callbacks to it whenever they can, to make up for ignoring it in season two completely, but they still don’t want to actually acknowledge anything that happened during that season so they just refer to it in the laziest way possible, rendering the previous events pointless. 

So Close and Yet So Far

I’m mainly posting this whole conversation so that you dear readers will have context for what I talk about next. 

For you see, this scene starts out okay and it looks like we’re finally going to address the elephant in the room regarding Rapunzel’s involvement in Varian’s past trauma, only for the scene to immediately side step the issue all together and not resolve the conflict at all. 

No! Don’t Interrupt; Listen! 

Or at least go all the way and accept some of the blame yourself. 

It may look like Rapunzel is comforting Varian here on a superficial level, but without her verballing acknowledging what she did wrong, this action just winds up taking the focus off of Varian and what he needs and places it upon Rapunzel, both narratively and physically.

So what happens is that, in universe, it comes across like she’s just consoling Varian for her own personal comfort rather than genuinely trying to help. 

Why Would Varian Ever Think This? 

Okay, first off this has nothing to do with what Varian was talking about previously. Why would he jump from discussing his trauma to praising Rapunzel? You know the woman who is responsible for said trauma? 

Secondly, this switches the focus of the conflict off of Varian’s specific trauma and makes it about a generic “over coming fear” lesson mixed with an out of place validation issue. Which is not what’s actually needed for his character development; nor for Rapunzel’s for that matter. 

Third, being the sundrop has nothing to do with Rapunzel as a person. Her being born with magical powers was an accident of fate, same as her being royalty. She’s not innately better than anybody else because of this and nobody has any narrative reason to assume otherwise. Especially since her powers are utterly disconnected from her actual personality, choices, and actions. All three of which have become unbearably unpleasant by the last season. 

Finally, Varian, of all people should be the last person on earth to ever think so highly of Rapunzel. Them being friends again is already pushing believability. Him suddenly kissing her ass the same as everyone else this season is just flat out bad writing.  

Varian knows better than anybody what an awful person Rapunzel is. He’s seen her at her worse. He’s seen her not live up to her hypocritical ideals. He knows the larger problems that steam from placing people in power on pedestals. As her former victim, Varian by all accounts should be the one person who can bring Rapunzel down to earth and poke holes into her ego, even while still being her friend. Especially while still being her friend. She needs that! Writing Varian as another blind Rapunzel stan is not only writing him out of character, but it also damages Rapunzel’s own development. 

Also Varian hates magic. Why would he now worship someone just for having magic? 

THIS AIN’T ABOUT YOU BITCH!!!

I literally yelled that at my tv screen when I first saw this scene. Those were my exact words upon the episode’s first airing. And believe it or not, I’m not one to usually scream obscenities at inanimate objects. 

I understand what the writers were trying to accomplish here. They wanted Rapunzel to ease the tension by saying something funny and to make Varian laugh to distract him from his woes; thereby defusing the situation. But it doesn’t work because of season three’s tendency to make Rapunzel the most egotistical, smug, self-centered, abusive, self-righteous twat in the show. 

It really boggles the mind just how unaware the writing is. Like, surely no one makes their protagonist this unlikable on accident. Clearly they meant for Rapunzel to be an ass on purpose right?  They wanted Cass to have a reason to hate her so they decided to make her insufferable to the viewer in a misguided attempt to make Cass more sympathetic? Right? 

Then where is the bloody comeuppance? 

I genuinely thought this was all going to lead somewhere. That Rapunzel was going to learn to be a better person and I would have been fine by that. I would have applauded the show if they had turned her into an asshole intentionally so that they could teach a mature and nuanced lesson about morality. 

But they didn’t, and here I am; still shaking my head in confusion over a year later. 

Seriously what the fuck happened behind the scenes to cause this? How can processionals paid by the largest animation company in the world be so incompetent? 

Having Trauma is Not the Same Thing as Having a Phobia  

This is where Varian’s arc falls apart. Not only does the episode fail to have Rapunzel acknowledge her past wrongs for a second time, but it also completely mishandles Varian’s trauma because it equates it to being an irrational fear. One that can be overcome through pure force of will at that, same as Lance and everyone else’s fears in the episode. 

Ok first off Varian’s fear isn’t irrational. He even just said so at the start of the conversation. Varian’s trauma is very real, it’s not a hypothetical unlike clown-spiders and cowlicks. Also has been given very little reassurance that it won't happen again. Varian has no reason to trust Rapunzel or anybody else in the show. They never owned up to abandoning him previously, and both he and the audience have little reason to believe that Rapunzel wouldn’t just neglect him again if it was convenient for her.   

Secondly one does not simply ‘overcome’ trauma. Oh you can deal with trauma, you can manage it and learn to live with it. But it never goes away. It doesn’t magically disappear just because you ‘faced it’. 

In fact confronting it head on is actually the opposite of what your suppose to do when going through something traumatic. Studies have shown that distracting your mind after a car crash or what have you actually helps with PTSD later on. And ‘dealing with it” doesn’t mean ignoring the problem out right, but rather learning how to function despite the pain. 

But as the show acts like Varian’s trauma never even existed after this episode. 

This Doesn’t Resolve Anything!

What does “being special” have to with fear? How does this help Varian with his trauma? Empty validation has nothing to with what we were just discussing. 

Everyone gets afraid. Everyone has trauma of some sort. Are you telling me that my need for therapy some 20 years after being physically assaulted is just because I’m not special enough? Fuck you show! 

Moreover, this doesn’t resolve the story arc from season one. Varian and Rapunzel’s conflict with each other has nothing to do with self esteem. It was about personal responsibility, conflicting needs, and abuse. Yes, self image and acceptance was a small factor in their motivations, but it was never the driving goal behind their decisions. 

This is yet another broken narrative promise to the audience. There’s no closure to be had from this and leaves the viewer wanting, if not outright frustrated. 

In order to justify this exchange fans have to ‘read between the lines’ and make shit up in order for any of this to make any sense. People who still defend season three do by doing all the heavy lifting that writers themselves should be doing. 

If it’s not on screen, it doesn’t count. 

If Rapunzel never apologizes on screen, then she never apologized. If Rapunzel never checked up on Varian on screen, then she neglected him outright. If Rapunzel never acknowledges her wrong doings on screen, then she’s never learned anything. The characters pretending like she has doesn’t make it so. 

Why Does Cassandra Even Want a Destiny? 

Yes, Zhan Tiri is lying, there is no destiny, but Zhan Tiri being a liar doesn’t absolve Cassandra of her own actions. 

Cassandra herself believes in destiny and is looking for her’s, but why? 

Why does she want a destiny? What is this destiny she’s after? Why does she believe such a thing exists? What does she believe it’ll gain her? Why is she willing to risk so much for such a vague goal? What does any of this have to do with the moonstone or her mother? How does this destiny connect back with her personal feud with Rapunzel? 

It’s all disjointed and confused. Nothing lines up. It’s like the writers just had this dart board full of ideas for Cassandra’s villain arc, but couldn’t decide on which one to go with, so they just threw darts randomly each episode and went with whatever stuck for any given scene.

“Oh she want’s revenge for her mother during this scene, or wait no, she’s actually looking for destiny this episode?” “What destiny?” “Who knows. Now for this scene we need her to be sad because reasons...” “What reason?” “I don't care, make something up... Uuuuh, she’s sad cause she’s not a royal guard still” “But she became a guard during season one.” “Ignore that. Kids won’t remember. Now she needs to be angry and threating here” “Why?” “Because it’ll look cool.” “But why is she angry?” “Cause it looks cool Bob! Geez! Oh but she still needs to be sympathetic so give her a frowny face afterwards. Just have Zhan Tiri remind her how much she hates Rapunzel later, so as to egg her on and keep her doing stupid shit?”  “But why does she hate Rapunzel?”  “Do I have to think of everything BOB!!!???”  

There, there’s my non-so-accurate behind the scene’s glimpse into the Tangled writer’s room when discussing Cassandra’s arc. I could be wrong. There could have been some intricate and complex plan thought out that just didn’t make it onto the screen for whatever reason, or maybe everyone involved was so far up their own ass that they just forgot to give their main villain an actual reason for being the villain. But regardless the over all effect is that Cassandra is handed the idiot ball for a whole freaken season in order to even have a conflict and that is never good writing; or rather she’s hit in the head with it repeatedly. 

This Actually Goes Against Zhan Tiri’s Plan

Zhan Tiri’s short term goal is to be released from her dimensional prison and apparently she needs Cass and Raps to fight into order to do this. This was never established before hand and goes against her disciples pervious plans, but whatever. One could argue that this is just a lie in order to get them to fight later... 

However, this lie jeopardizes her long term goal. She eventually wants to wield both the moonstone and the sundrop herself in order to destroy Corona, but Rapunzel is the sundrop and you can only take her power during an ellipse, supposedly, which means if Cass actually succeeds in killing Rapunzel before then, then Zhan Tiri is up a creek without a paddle. Also if Cassandra did manage to steal Raps’ power with or without an ellipse then Zhan Tiri would still be out of luck. 

This was wholly unnecessary; you didn’t have to go from zero to sixty in one fell swoop. Have Zhan Tiri claim that fighting Rapunzel will award the power to the winner or something. There’s no need to bring up the ‘kill her’ option. That should logically just drive Cassandra away and puts Zhan Tiri’s plan at risk. 

The series wants to act like Zhan Tiri is this master manipulator, a chess master like Zantos or Palpatine, but she couldn’t even tie their shoes. Her plans make no sense and often contradict one another. They only work because the rest of the cast are reduced to imbeciles in order for them to work. 

This Plot Point Contradicts Season Two

His fear of spiders was establish early on, and I’ll accept the clown thing as there’s nothing to contradict it, but Lance has preformed numerous times before now and has never show stage fright. He’s a huge ham and back in Return of Quaid he mentioned how much loved acting and preforming and apparently been on stage before, so where does this fear of singing in public come from? Heck he sung in public just a few episodes ago in Rapunzel’s Return. 

If you have to sacrifice established character into order to make your plot work then you need a new plot. 

This Song is Nice; It Just Needed to Be in a Different Episode 

I’m glad Lance got a solo. He deserved one and the song is good. However it breaks the tension of the climax and gives the episode tonal whiplash. 

More than a song, Lance needed an actual focus episode in season three. One that was fully his. If anyone else shared it with him it needed to be Red and Angry, not Varian and Cass. 

Just imagine if this song came during an episode where he had to watch the girls. Imagine if he was singing it just for them. How much more impactful would that have been? 

Now imagine that we had a Rapunzel and Varian duet in it’s place here. That would have tied the episode together better and helped to further their own stories. Glenn Slater can write lyrics far better than Chris can write dialogue. I bet you a thousand to one Tangled the Series would have solved like half of it’s problems had Menken and Slater been allowed write and actual apology duet between Raps and Varian. 

Such a duet was proposed during Rapunzel’s Return but it could have worked here too, and you could have placed Lance’s solo in Day of the Animals or something, just leave Rapunzel out of that episode all together. 

Nothing honestly needed to be cut music wise, yet for some reason season three has less songs than the other seasons, even when counting the reprises, and they’re mostly shorter too. 

That’s mismanagement right there. Plain and simple. Someone at the top didn’t know how to balance the budget or resources and didn’t know where to the throw the money at. 

You Have a 70 Foot Shield Made of Magic Hair, Rapunzel

You couldn’t think to just block those rocks instead?

Giving your protagonist a big hero moment doesn’t work if they placed the person the have to save in jeopardy to begin with show. 

I Do Not Care About Rapunzel Right Now, Show

Yes, she’s the main character. Yes, her feud with Cass is the main conflict of the season and kicked off the episode. That does not mean that I automatically care about her personal feelings at this moment in time. 

Rapunzel has kept such a tight lid on her real feelings for the whole episode that this just comes out of nowhere. I was never waiting with baited breath for her to confess her deep dark secrets or whatever. 

It’s not even an interesting reveal. It’s just “Oh, see Rapunzel’s human too. She’s gets scared just like everybody else.”. I already fucking knew that, thanks. And what she’s afraid of isn’t even that compelling either; it’s a just a rip off of the prophecy dreams she had back in season one. The same ones that had no explanation and never furthered the story, so why should I care about this one?  

You have to earn the audience’s investment in your conflict. The character’s likability, as little as that may be currently, will only carry you so far, you have to establish shit first.  

Varian’s conflict has been the focus of the entire episode so far, and it’s a conflict that was set all the way back in season one, so of course that is what I’m invested in seeing get resolved. Rapunzel is once again just butting in and making it all about her when it’s not actually her story. 

And if you wanted it to be her story then you should have made her the actual focus to begin with and had her learn something by the end of it. 

This is Poor Choice of Words, Writers 

I could be generous here and pass this off as Rapunzel not fully believing in this prophecy. After all Corona’s destruction is still a hypothetical at this point and Cassandra really has left already. Since the episode is about fear, Rapunzel is of course more afraid of losing Cassandra’s friendship as it’s real tangible possibility. 

More than a possibility even, Rapunzel’s been dumped. Season three is a classic break up story, right down to the poor plotting and tunnel vision, hence why it’s so gay baity. 

However, this reading only carries so far. For starters this is Rapunzel’s what, fourth prophecy dream so far? Haven’t the past three already came true, so why would she think this one wouldn’t? 

Secondly, all that good grace goes right out the window once it becomes clear that, yes, Cassandra is indeed a threat; a threat that Rapunzel refuses to take seriously because she cares more about her own personal validation than her kingdom. 

Even as Cassandra does succeed in destroying Corona, and no doubt harms other people while at it, Rapunzel still is obsessed with ‘winning Cassandra back’. Oh and make no mistake, this is not because she actually cares about Cassandra as a person and her needs or feelings. Nope. Rapunzel just doesn’t like being dumped. 

Why Does Varian Need to Shove His Feelings Aside for Rapunzel’s Bullshit?

Rapunzel’s ‘confession’ has fuck all to do with Varian’s current issues. They do not connect in any way.  

Varian is dealing with real trauma, trauma that she helped cause, while Rapunzel is only dealing with a hypothetical prophecy and one very shallow, self-centered fear. There’s nothing to relate to here. Neither for Varian himself nor the audience. 

Yet for some undefined reason this is what gets Varian to ignore his PTSD flashbacks? What? 

This is once again break the narrative promise. I was promised closure for Varian’s story arc and instead of that the writers just brush it up under the rug. 

From the outside looking in this doesn’t come across as Varian ‘overcoming’ his ‘fear’. It looks like an abuse victim using learned helplessness to placate his abusers.

And yes, for the last time Rapunzel is Varian’s abuser. 

NEGLECT IS ABUSE!!! 

And and even though he is no longer her ‘responsibility’, she is still neglecting him emotionally as his supposed friend. 

Varian’s and Cassandra’s Stories Undermined Each Other’s 

Varian stopped the rocks. Rapunzel had nothing to do with it. Zhan Tiri blaming Rapunzel for it steals agency away from both her and Cassandra. 

However, if Rapunzel had used the hurt incantation to stop the rocks and Cassandra had felt it rom the other side, then you’d have something to back up Zhan Tiri’s claim and an actual point of real conflict to carry the rest of the season. Not to mention an actual tangible goal for Cassandra to work towards, survival. 

Cassandra’s conflict with Rapunzel not only prevents the resolution to Varian’s arc from being satisfying, but Varian fulfilling his arc in turn winds up cutting off Cass’s story at the knees. 

It didn’t have to be this way. Varian’s and Cassandra’s arcs should have complimented each other, but instead the creator decided to make them complete for screen time and relevance. 

It is such an gratingly stupid and petty decision that winds up being a disservice for all the characters involved.   

Cassandra’s motivation and goal should have been revealed back in season two. Varian should have been the sole focus of Rapunzel’s Return and gotten his big hero moment there along; with an actual ending to his conflict with Rapunzel that didn’t feel so lopsided and half assed. Then Rapunzel and Cassandra could have both been held accountable for their conflict in season three, instead of pretending like their shit smelled of roses the whole damn time. 

Lance Got a Whole Crowd Cheering Him On For Singing a Song, Varian Just Gets One Asshole Giving Him a Single Line of Congratulations

Did I mention this show has an odd anti-Varian bias? Cause it does. For whatever reasons his own creators hate him and that’s just utterly baffling to me. Like why create a main character that you don’t like? 

I look down on professional writers who treat characters they didn’t create poorly within their works, like with James Gunn and Scrappy Doo in the Scooby Doo Movie, Adric in the Doctor Who spin offs, or even the treatment of Doofus in Ducktales 2017. I don't care how much a character is liked or disliked by fandom, that shit is just tasteless and often unfunny. But at least I understand where they are coming from when they do it. 

But I’ll never understand what compels a writer to sabotage their own work; one that they are getting paid to write no less. Especially when said character is super popular with their fans. And Chris knows this. He knows the ratings plummeted without Varian in season two. He knows the merch didn’t sell because there wasn’t enough Varian products. That’s why he hyped up Varian’s return a whole week before Season Three’s airing with a massive online campaign, but he wasn’t smart enough to treat the character decently afterwards? 

I mean congrats, you convinced a just enough viewers to come back to season three to keep the show on the air I guess, but you left them all pissed off and have nothing to show for it to the higher ups a Disney. 

And Chris wonders why he wasn’t asked back to work on new Disney princesses shows that are currently in the works. 

That is Not Quirin. That is a Plank of Wood Pretending to be Quirin.

*Beep* *Boop*...*Dad Bot Is Proud. exe* 

Quirin is such a pale shadow of his season one self that he might as well not exist. I genuinely don't know why the writers released from the amber so early if they weren’t actually going to use him until the season finale. 

For the longest time I honestly thought that Rapunzel sucked out his soul with that decay incantation; what with that lyric about “setting the spirit free”. I genuinely thought that would be a later plot point, but nope, it’s just bad writing

Him just saying hi to son once and smiling blankly isn’t compelling and it’s isn’t fulfilling. It doesn’t actually resolve his arc. I mean he’s at least shown spending time with his son, but that’s not enough. We need to see him acknowledge past, we need to see him acknowledge his own flaws, and we need to see him being more attentive when Varian is in need. .  

Season one Quirin would be trying to stop Varian from going near the red rocks, a post season one Quirin should logically go after his son to make sure he’s alright, even if he’s know longer trying to actively stop Varian like he once did. 

There’s also that damn note and it’s secrets! 

You know what? That’s it. That’s the problem. The focus is all wrong in season three. Episodes get pulled into to many directions trying to juggle too many characters rather than dedicating the needed time to each individual arc. 

Season two’s finale should have been a three parter with Cass’s full motivation and goal laid bare before leaving.

Rapunzel’s Return should have been solely about Rapunzel and Varian’s conflict and resolving that arc fully 

Either Who’s Afraid of the Big Bad Wolf or Day of the Animals should have been a Lance episode about him and the girl’s, no Rapunzel. 

And this episode should have been about Quirin and Varian resolving their issues, with the Rapunzel and Cass stuff as the B plot not the stupid talent show 

There, all fixed. You don't even have to cut much, just rework the focus and leave Rapunzel and Cassandra out of conflicts they have no business being in. 

This Does Not Excuse Rapunzel’s Later Negligence Regarding Cassandra

Just because the red rocks was an accident doesn’t mean Cassandra should get a free pass for all the awful things she does later. Rapunzel uses this one interaction to excuse everything else Cassandra does in season three, as if she was just some poor lost baby and not a grown ass woman out to kill them. 

In fact Cass showing hesitancy here actually makes her later actions even worse. This means that she fully acknowledges that what she’s about to do is wrong, but goes ahead and does anyway, even gleefully so at times. Then she has to gall to act baffled when people see her as a threat? 0.o 

When fans say Cass isn’t redeemable or shouldn’t be redeemed, it’s not because he actions are so much worse than everybody else’s (even though they are), It’s because she doesn’t act like she wants to be redeemed half the time. The show doesn’t properly set up her ‘redemption’, instead it just lazily has Rapunzel yell at us how she’s ‘not lost’. 

Like below for instance. 

What Does Cass Need Saving From?

Cassandra is not in danger. She is the danger. 

She made the conscious decision to leave taking a world endangering artifact with her, and she later makes the conscious decision to come back and be an asshole for no adequately defined reason. 

She’s never shown to be in any physical danger from the rocks, the moonstone, or even Zhan Tiri herself. She apparently can take care of herself in the wild for over a year. She also has the capability of getting a job else where and just living out her life if she wanted to. Nothing is forcing her to listen to Zhan Tiri. 

Heck, even her hurt arm, the one thing Rapunzel is responsible for and could potentially be a continued threat to Cass’s well being, is just completely forgotten about.

And no, mental illness and past trauma are not excuses as well. In fact it’s rather insulting to both people with mental heath problems and abusive survivors to suggest otherwise. We don't need ‘saving from ourselves’ and we aren’t automatically dangers to anybody. Nor do we get free passes if we hurt someone. A jerk who happens to have a mental illness is just a jerk who so happens to have a mental illness; coloration is not causation. 

Conclusion 

It’s better than Rapunzel’s Return, but this episode was still a disappointment. A small part of me whishes this was a two parter because it has so much untapped potential, but I know it’s just be wasted in Chris’s hands. 

Anyways, I consider this to be the true mid-season finale of S3. Not only did the hiatus kick in after this episode, but it also clearly divides the season between the first half filler and the later Cass conflict. As such the next entry will be the mid-season recap. See ya, then. 

Ko-fi https://ko-fi.com/rachelbethhines

Redbubble https://www.redbubble.com/people/RBH129/shop?asc=u

[raya-rhaenyra-ahsoka]

Why Daenerys Should've Stayed Longer in the North Than Attack Cersei Too Soon (Which is a dick move, really) PART 2

This is a continuation from my other post, as promised. Here’s the link to Part 1 here.

ALLIES FROM THE SOUTH

The Stormlands. With Dany recently legitimizing Robert Baratheon’s last living bastard, Gendry (Yay!), and appointed him as the new Lord of Storm’s End, I think he had pledged his loyalty and full support to her.

Now since the Baratheons are the overlords of the Stormlands, it ultimately makes the Stormlands part of Dany’s new rule in Westeros. And if the Stormmen questioned Gendry’s legitimacy, there are two people who can back him up: Ser Davos Seaworth, a landed knight, and Ser Brienne of Tarth, literally the heiress to Evenfall in Tarth Island. Both of whom are from the Stormlands and have served the late Baratheon lords, Stannis,

and Renly, respectively.

TV show-wise, Gendry had taken over Edric Storm’s plotline. Edric Storm was another one of Robert’s many bastards and it was him who Ser Davos saved from being killed by Mellisandre in the books, not Gendry. Gendry himself was grateful to Davos for saving his life and he sort of stepped up as his own parental figure. I also think Gendry reminded Davos of the son he lost during the Battle of Blackwater Bay.

As for Brienne, she and Gendry never shared a conversation in the show, but in the books, he even saved her life. Brienne came from Tarth, an island in the Stormlands, where her father Selwyn Tarth is lord and one of the many bannermen of the Baratheons of Storm’s End. Brienne came across Gendry in the Inn at the Crossroads while she was searching for the Stark girls. When she saw him, she literally thought he was Renly because of his striking resemblance to his uncle. Their exchange went something like this:

Brienne: Oh my god, Lord Renly?!

Gendry: Uh, what? Lord? Lol no, I’m just a smith.

I wished it happened in the show, it would’ve been funny.

Dorne. There isn’t much plot regarding Dorne in the show. (Again, f*ck D&D for ruining a great sub-plot of the story!) But in the books, the Martell heiress, Arianne was the ultimate feminist icon. She supported and fought for Myrcella Baratheon’s claim to the Iron throne over her younger brother, Tommen, and she hoped that the rest of Westeros would follow after Dorne’s right of inheritance regardless of gender and order of birth. But no! They disregarded that seemingly important plot that even George R.R. Martin was disappointed about the changes. (We hear you, George!) Nevertheless, Arianne would’ve supported a queen, yes. But between Daenerys and Cersei, she’d probably go with Dany mainly because of their family ties. In case you forgot, Rhaegar’s late first wife, Elia Martell, was Arianne’s aunt. Also, because of what happened to Elia and Oberyn Martell in King’s Landing, the Martells practically loathed the Lannisters. In the show, Oberyn Martell’s paramour Ellaria Sand, and his bastard daughters, the Sand Snakes, hated the Lannisters, that’s why they sided with Dany. But with all of them dead and House Martell now extinct, I think the new prince of Dorne would’ve allied himself with a tamer ruler, not one who plays with wildfire. (Note: this is when Dany stayed in the North and did not march south yet.)

Spies. In the Art of War, the use of spies implies gaining knowledge of the enemy, knowing their motive and their next move. With Lord Varys the Spider in Winterfell, who’s still serving under Daenerys, has its advantages. Vary’s networks of spies or as what he called them, his “little birds” are literally scattered across the seven kingdoms.

His little birds are actually children, and appearance-wise, cannot be easily identified as spies. With his intel, they could easily formulate a plan to defeat Cersei.

DEFENSE AT SEA

 If Cersei couldn’t do it by land, she’ll go by sea. Which, Daenerys of course, have the appropriate fleets to defend, covering both the Narrow and Sunset Seas. Here's a map:

(Source: pinterest.com)

Enemies to the East. If Cersei will be stupid enough to attack through the Narrow Sea by sea, Daenerys has the fleets to defend. The Northern fleet, a.k.a the Manderly Fleet of White Harbor and the Arryn Fleet in Gulltown in the Vale will join forces.

Enemies to the West. And if they invade through the Sunset Sea, they’d have to pass the Iron Islands, where Yara Greyjoy’s Fleet will intercept them, with the help of the Mallister Fleet in Seagard.

Who would win depends. The only other person that’s probably as good as Euron at sea is his niece, Yara. The rest of Dany’s fleet would have to get lucky or outnumber the number of ships in a fleet.

At this point, you’ll probably be like, oh, what if they steer clear from the fleets and enter the North’s weakly defended areas? Okay, that job falls to the castles nearest to their borders. The northernmost castle is the Last Hearth, the seat of House Umber, which is practically already deserted. On the south is Greywater Watch, which has the strongest defense out of all four cardinal directions. On both east and west hold the seat of two branches of House Flint, with Widow’s Watch on the east, and Flint’s Finger on the west (Again, refer to the map above). Once they see Cersei’s fleet, they’ll inform the people in Winterfell.

People tend to forget that Daenerys has the only air support with her dragons. So when she hears about this, she’ll easily burn the enemy fleet with one dracarys away.

That is, if Qyburn hadn’t installed that big-ass crossbow in one of the ships, then she’ll have to be better at dodging them. It gets better if Jon’s willing to help her with Rhaegal, but we’ll never know.

OUTNUMBERED AND SURROUNDED

The map shows the Crownlands and its neighboring kingdoms of the Vale, the Riverlands, the Reach, and the Stormlands. (Source: pinterest.com)

Territories. With Cersei sacrificing Casterly Rock to tighten her grip on the Iron Throne, she technically had also sacrificed the Westerlands, which meant everything north of King’s Landing is Dany’s territory now. With Dany’s army and territories secured, the Crownlands, where King’s Landing is, is technically surrounded by the Vale, the Riverlands, the Reach, and Stormlands. I included the Reach because, well, she roasted the Tarlys and took the remaining men to her cause with a choice, bend the knee or die in a blaze of glory.

Armies. Dany has the combined armies of North, Vale, Riverlands, Westerlands, Reach, Stormlands, and maybe Dorne, plus, the Unsullied; fleets of the North, Vale, Riverlands, and Yara’s fleet from the Iron Islands; and the only air support, her two remaining dragons. Cersei on the other hand, just had the army of the Crownlands, King’s Landing’s City Watch, the queensguard, plus, the Golden Company without elephants; and Euron Greyjoy’s fleet.

I think it’s obvious that Dany outnumbers Cersei’s army, by a lot. And at this point, Dany has enough allies to lay a siege on King’s Landing.

DAENERYS VS. CERSEI

Let’s discuss the difference in the personalities and motives of Daenerys Targaryen and Cersei Lannister.

They both have blond hair, are the only girl among three siblings, and are queens in their own right. But that’s where their similarities end.

Cersei currently sits on the iron throne, and she is loving the perks that came with it. Endless Power, which meant she can do whatever she wants and not care about what people think, like sleeping with her brother. With the news of Dany coming back to Westeros, she sees her as a threat and wanted nothing more than for Dany to disappear so she could stay in power.

Daenerys, however, claims that being the queen of the seven kingdoms is her birthright, as it was the Targaryens that reunited the whole continent of Westeros. Of course, it’s still power, but at the same time, she sees it as a responsibility as well. (With great power, comes great responsibility. Wow, I’m quoting Spiderman now.) She believes that as a queen, it’s her job to take care and provide for the needs of her subjects and even makes an effort to hold court as she listened to their demands. She also thinks that slavery is a big no-no, so she freed them.

The key to becoming a great leader is finding the balance between being loved and feared by your subjects. Cersei is more likely feared than loved. She also doesn’t care about her people, a fact that she admitted to her brother, Tyrion once. Daenerys most likely had the scale tips on balance, with her being equally loved and feared by her subjects. She’s loved because she actually takes time to listen to the people’s needs, and feared because she could take you out using her dragons with one word.

If Dany did lay siege on King’s Landing (again, we aren’t counting her major mad queen moment), the only thing Cersei can use against Dany is the people living within the city walls. Cersei might have heard that Dany’s been freeing slaves in the cities surrounding Slaver’s Bay, and figured out that she has a soft spot for the common folk.

In conclusion, if Daenerys had simply waited out and took her time planning and gathering allies and supplies against Cersei, she would’ve been successful in her campaign to retake Westeros. But then again, we aren’t the writers for this show. In the end, they had Jon battling through himself while he chooses to reply with either of his two favorite lines, She’s my queen or I don’t want it. Or that Sansa and Arya doesn’t like Dany at all and think that she’s a power-hungry, dragon-riding bitch. Or that Bran doesn’t give a f*ck about anything. So, yeah. What do you guys think?

[shades-of-stony]

Post CA:CW Fix It Stony Fanfics

Making Amends by TheseStoriesAreWrittenOnMyHeart

Summary: Everything about them happened in seconds. Their first meeting was quick, with Tony landing next to the Captain, each man giving a curt nod and name in greeting. Their argument on the hellicarrier took mere seconds to escalate. Until Steve was goading Tony into putting on the suit and going a few rounds and Tony not so subtly reminding Steve that he wasn’t afraid to hit an old man. It was only seconds of staring at Tony on that New York City Street, his arc reactor dark, no rise and fall of his chest, for Steve to know that inside the tin can, was a good man. Then Ultron happened, and it took seconds for their world to change, seconds for Steve to throw his shield at Tony and for the billionaire to send a repulsor blast back. They went from laughing and relaxing to standing on an edge thousands of feet above solid ground. And now…now everything’s changed. And all it took was a combination of seconds; of decisions made, actions performed and words spoken that they couldn’t get back. Just a few ticks of the clock for their world to shatter.

It’ll take more than that to make things right.

Note: This one deals with amending the accords. It is about how the avengers pick up after the civil war and how they learn to be friends again. It is an incredibly detailed and well written piece! Also, NO TEAM CAP OR TEAM IRON MAN BASHING. I was only supposed to re-read a few chapters to recall the story and give a few-word review but I ended up re-reading the whole goddamn thing. It’s a masterpiece. 

maybe love is the reason why (we're seeing it eye to eye) by parkrstark

Summary: "I'm sorry. Repeat that again." Tony leaned forward in his seat from across the table. He even stuck a finger in his ear as if he was cleaning it out. "I don't think I heard you right."

Fury rolled his eyes-- or well, eye. "You and Rogers need to go undercover as a married couple in a community out on Long Island."

--

After Civil War, Tony and Steve are sent on an undercover mission as a couple to try and find Hydra informants. Somehow, they end up with Peter as their undercover son who decides to play matchmaker even if the two of them are doing their best to ignore their feelings after Siberia.

Note: My latest Fix It read! It just completed today. This fic is a phenomenal read, with its fake relationship, superfamily, undercover, and sexual tension elements! A definite 1000/10!

and this is the map of my heart by CydSA

Summary: The Avengers are splintered - spread out across the world.

There are many things to regret. The biggest one is what could have been.

Tony refuses to have any more regrets. Steve realizes that perhaps he made the wrong choice.

It starts from here....

Note: Here is some sweet, sweet, Civil War Fix It. It dwells deep into the Accords, how Tony fixes it, and the downfall of Ross. 

floating point exception by ooka

There is something, he knows, to see a man as mortal. To see his fault lines and jagged edges instead of the smooth surface they present. Most people don’t like the illusion, whether it be good or not. They don’t want people like him to be human.

But that’s what he is, under the suit and the smile and the sunglasses. Under the bravo and the quick grins. He’s just a man, trying to hide his broken pieces, the dents in his heart, the washed out color of his soul. He’s just a man, trying to solve problems and make the world better. That’s why he’s Ironman, just a man in a suit. Nothing extra.

The place where the arc reactor used to rest in his chest aches so fiercely for a moment that Tony can’t breathe.

He takes in a few breaths and does what Tony does best - pushes it down and goes to work.

(Tony, after the Civil War. Post CA:CW)

Note: A 150k+ fanfic that is centered on Tony, his issues, and his struggles. PREPARE TO CRY.

Not Enough Scotch for this Matchmaking Scheme by desolateice:

Summary:  After Civil War and a lot of healing the Avengers are fed up with the stubborn silence between Steve and Tony and try to take things in their own hands.

Note: A Fix It where the ‘kids’ play matchmaker to bring their fighting ‘parents’ back together! 

Never Eye To Eye by vorkosigan for mrsgingles

Summary: After the Civli War, the Avengers were back together.

How is everything going, Tony? Pepper had asked in her email. It's fine (Tony had written back). I'm fighting with Steve all the time. Everything is going to hell. I'm okay (you know I'm always okay).

(Or: How Tony and Steve learned to be a bit gentler with each other)

Note: A 26k+ fic where Steve and Tony learned how to be friends again, and more. It deals with the struggles and frustrations they had just to salvage their friendship.  

Fly One More Time (Alternately Titled--The Phoenix) by RavenLost2187

Summary: Steve couldn't see them before.

But then he woke up and there they were.

There's a small problem though.

One of his teammates doesn't have wings like he should.

And that's Tony Stark

Note: Some winged fics anyone? This has a bit of a Team as Family element and not to mention that glorious Civil War fix it theme! 

What it’s worth by masterlokisev159

Summary:  Tony's scent is off. Wanda realizes why.

Note: Here is a Hurt and Comfort fic for you with a dash ABO elements in it! 

Sunrise Over the End of the World by Sapphic_Futurist

Summary: When Dr. Strange arrives at an Accords Committee Meeting and warns of the coming of an alien megalomaniac set on destroying the world, the Rogues are pardoned and Tony finds himself exactly where he never wanted to be. Back at the Compound with Steve, who still can't take a hint and won't leave him alone.

--

In which Tony is broken and Steve finds redemption.

Note: A Bad case of Tony acting like nothing happened and doing his goddamn best to avoid Steve. It’ll work all out in the end. Well, it will get worst first before that though.. 

We stand together (or not at all) by Jana_C

Summary:  It’s so easy to hate this man, so painfully easy. He’s the embodiment of rich, white male privilege. He’s irritatingly arrogant, and he doesn’t always think before acting, and even when he does, he manages to twist his logic around and shape it into something that will always benefit him, and yet, here he is, building the guy who killed his parents an arm, without having been asked; working his way through diplomacy and politics, even though he hates it with every fiber of his being, just so he can correct the mistakes all of them made. She watches him go and sighs, small and tired, before texting a single line to Steve. Get ready to come home.

Note: Anyone up for some Tony Whump and Appreciation fanfic? 

You Don’t Only Get One Shot by janonny

Summary: In which Tony voluntarily carries a tracker around, and learns how to talk to Steve all over again in-between and during kidnapping attempts.

“Leave you alone for two months, and you have an operation all set up to track wayward Hydra cells and rescue innocent billionaires,” Tony said, his tone skating the line of annoyance and admiration.

Note: a dose of Stalkerish!Steve (but not in an entirely creepy way because he just wants to keep Tony safe dammit). 

You've Got A Sister Now by ZaraMelMercury

Summary: It's been a year since the events of the Avengers' Civil War. Tony Stark is trying to pick up the pieces of his life, while juggling his work, his remaining friendships, getting therapy sessions for Rhodey and dealing with government politics, as well as the Accords.

It is a bit rough, but he's got Pepper (always a steady rock by his side), Rhodey, Happy and the Kid- Peter Parker. Tony would never admit to it up front and center, but you could always catch a proud look on the man's face whenever the young Spiderling was mentioned!

Life seemed to be looking up...

Except for one, minor detail:

Steve Rogers.

The hope for one reconciliation, surprisingly, led to another!

A new bond that would form that Tony would ultimately always be thankful for.

"Oh, I wanna take it back!... " "No, no, no, you can't retract it!"

Who would've thought it?

Tony Stark has a sister looking out for him, after all.

Note: Here are some Tony and Nat friendship for you! This one isn’t exactly a solid fix it but one with a more of hopeful ending. 

The Bro Code by Sullen

Summary: In a world where the Winter Soldier is found years earlier and is named Tony’s godfather, Zemo plays a different R-rated video and Siberia goes a little differently.Or –Steve breaks the bro code.

Note: This is just too cute and wholesome not to include. 

WIP

Used to be Mine by Fangirlingmanaged

Tony can't even recognize himself nowadays.

Note: This one certainly deserves a place at the heavy angst category because that’s what it is. HEAVY ANGST AND HEARTBREAK.

[friendofhayley]

Monthly shout-out to every fanfic creator for all fandoms! Thank you for posting your talent for free and making our fandoms a more creative place. <3 This fic rec includes 12 fics from One Direction, Harry Potter, and Teen Wolf fandoms.

Larry (One Direction)

1. Praise the Mutilated World by @eeveelou, @creamcoffeelou | dystopian AU - A/B/O - on par with Hunger Games for dystopian world/plot - maybe its the feminism but I saw some parallels between governing of vagina-welders and omegas - 106k

It was August when everything changed.

By October, the leaves changed, and so did Louis’ heart.

2. i'll be someone who won't be forgotten by @socialiststyles | oof oof oof this hit close to home (for Sagittariuses) - love confessions - friends to strangers to lovers - angst with a happy ending - 27k

"I’m just—" (Harry hiccups) "there’s a lot here."

And – yeah. There are oceans between them and mountain ranges surrounding them and Louis can feel tectonic plates shifting beneath his unsteady feet, pulling them further and further apart by the heartbeat. There are countries of distance, but there are pages and maps and textbooks of shared histories, moments documented and carefully filed away and Louis can’t remember thinking complete thoughts before he thought of Harry.

3. Send Me Your Pillow (The One That You Dream On) by @lesbianiconharrystyles | this was so soft and lovely - gAyBO - omega/omega - fluff and anxiety - 1k

Harry is embarrassed to realize he's nesting but can't stop stealing Louis' things for his nest.

4. falling, catching by tsuneni | light academia - first time - strangers to lovers - creatives in love - 23k

Harry’s jotting down some more notes when he feels a thud on his right shoulder. He doesn’t flinch, thank God, because when he turns his head to the right his suspicions are confirmed. The boy has fallen asleep on Harry’s shoulder.

When Harry lets out the breath he had been holding, the sleeping boy pushes his nose further into the burgundy fabric of Harry’s sweater, and wraps his arm around Harry’s waist.

This boy is going to be the death of him.

Wolfstar (Harry Potter)

5. I Tried Writing Your Name In The Rain, But It Never Came, So I Used The Sun Instead by @lenscribbles | I loved that Remus was a POC and his Syrian mother is amazing - friends to lovers - mutual pining - and nothing bad happens to them ever in the future :) - 12k

Don’t get Remus wrong. He loves his friends, he does! Loves them to the moon and back in fact. They’re his people, his favorite part of everyday, his found family. He’d do anything for them. But the thing is that doesn’t take away from the very simple fact that his friends are fucking ridiculous. Remus knows this, has known it for five years now. But it doesn’t stop him from startling awake on the morning of his sixteenth birthday surprised by the sound of fireworks exploding in their dormitory and a raucous chorus of “Happy birthday Moony!” being shouted into his ear with jaunty gusto.

“You are wicked, wicked wizards,” Remus moans from where he refuses to get up on his bed, covering his face with his hands, a good call on his end considering that the very next moment he feels a cascade of confetti pouring all over him. “The worst of the worst! You deserve to rot in Azkaban!”

“Oh how you flatter us Moonykins,” Sirius croons, pulling him up while James and Peter begin a frankly awful rendition of For He’s A Jolly Good Fellow.

6. Our Destiny in the Stars by orphan_account | non-magical AU - body insecurity issues - trans Sirius - amputee Remus - 11k

Having no luck in the dating field, and insecure about his body, Remus checks out a dating website which offers the users the opportunity to get to know a person before seeing what they look like. It's during this time he meets Sirius, an enthusiastic teacher--and they immediately click. When they agree to meet, Remus sees a photo of Sirius and immediately panics. He's too good looking to ever be interested in someone like Remus. What the tawny-haired man doesn't know, is Sirius has already checked him out online and has fallen head over heels for the adorable editor.

Drarry (Harry Potter)

7. Old Magic (series) by @mystickitten42 | Drarry runs away together pree-HBP - very realistic getting-together - Narcissa is the GOAT - poor Sirius stuck in the middle - 2+ parts

Harry is undeniably numb. Still reeling from the sudden death of his godfather, he’s back at the Dursleys and everything seems hopeless. One day bleeds into the next. But, as they say, nature abhors a vacuum…

Draco is unimpressed. The Dark Lord and his infernal giant snake have taken over Malfoy Manor and he’s confined to his rooms. He feels like a prisoner and it’s just not right. He’s a Malfoy. Itching for confrontation he decides to go visit Harry Potter.

Things don’t go according to plan.

8. The Importance of Being Draco Malfoy (series) by @upon-poppyhills | this is just great, I love that without memories Draco is without prejudice - Harry goes from suspicious to denial to crushing - brief but wonderful Draco/Justin Finch-Fletchley - I can't wait for everyone to find out about Draco's head - 3+ parts

The answer to the age-old question, "What if instead of a scratch on the arm, Buckbeak had stomped on Draco's head instead and caused tragic memory loss?"

It was a truth universally acknowledged that the path to reforming a Slytherin prince never did run smooth.

9. Dear Cousin, Love Regulus by @xx-thedarklord-xx, @llap115 | I confused this with another fic so I never read it until now and it's THE BEST - Drarry talk like dark academia boys sometimes - I'm so glad Draco had Regulus T.T - when he meets the Regulus portrait!! *screams* - 86k

As the sole Malfoy heir, Draco understood that his path was set long before his birth; who to be, how to act and what his choices should be. What he had not counted on was the power of outside influences. Letters from his deceased cousin caused him to realize that he did have choices, starting with the choice to be someone else, to be who he wanted to be. The road to self-discovery was difficult and navigating that path in the shadow of Harry Potter was its own challenge but maybe, just maybe, his friends would help him along the way. And he would owe it all to Regulus Black.

10. bury the dead where they're found by @rocketdocket | THIS FIC is the ultimate found family fic - sometimes people prefer the closet and that's awesome! - PTSD and suicidal thoughts - queer people are just better than the straights, sorry not sorry - 52k

The war is over. Or at least, that's how it feels for everyone else. But not for Harry. He can't escape the memories and the nightmares of the war, or his guilt about those who died for him. While all he wants is to be alone, finding a family in the most unlikely of places may be just what he needs.

Sterek (Teen Wolf)

11. A Californian Werewolf in New York by @dancinbutterfly, knight_changes | I love that Oz from Buffy is just there - friends to lovers - bottom Derek - misunderstandings - 16k

When Derek finally realizes that there's nothing left for him in Beacon Hills, he goes back to New York, gets a life, falls in love and finds his home.

12. (they say) this should feel something like fire by dallisons | mental and physical trauma - Boyd & Stiles friendship - dream!Erica - rebuilding - 11k

"Turn it off." The pack looked up, stunned into silence by the first words they'd heard from him in weeks.

Stiles stood, trembling - his knees weak. He tried to run and collapsed, his bad leg failing him once again. Derek caught him. "Turn it off," he said, his voice unmistakably a growl.

The water continued leaking from the loose faucet, and all Stiles heard was Erica's blood against the concrete. Drip. Drop. Drip. Drop. Drip. Drop. Drip.

[thepapergirlandthespiegelman]

Castlevania Season 4: I’m not mad, just disappointed

Season 4 is poorly written fanfiction, which is...better than a lot of things could be, I guess.

Spoilers below the cut.

Content warning: trauma, sexual assault, psychological manipulation

The Gods Have Had a Change of Heart

Or, “Season 3 Blocked and Ignored”

Season 3 felt like the fabric of the universe had been twisted just to inflict additional pain. Season 4 overcompensates in the other direction; trauma evaporates, and good things happen for no other reason than to make our favorite characters happy.

The Season 3 finale left two characters in particular totally devastated: Alucard and Hector. Alucard is violently betrayed in a horrifying sexual assault by the first two people he’s spoken to since Trevor and Sypha left. He ends up killing them in self-defense and puts their bodies on stakes outside the castle, alluding to his father’s habit of doing so and potentially hinting at a turn toward evil. Hector is seduced by Lenore and then enslaved using a magic ring.

Yet at the start of Season 4, it’s as if these things never happened. Alucard is troubled, but not totally devastated, certainly not evil. Taka and Sumi are referenced in exactly one conversation with new character, Greta, in which she says the rather tactless throwaway line, “I had a boyfriend and girlfriend at the same time once. But they never tried to kill me.” Hector is nominally imprisoned, but immediately seems highly agentic, perhaps even more so than before. He studies, lays traps, and makes secret plans with other people. Furthermore, his relationship with Lenore is completely transformed. From falling to his knees in abject horror and despair at being enslaved, he suddenly switches to light banter, in what is apparently a basically okay, mutually enjoyed romantic/sexual relationship. Manipulative, selfish Lenore is now a sympathetic character struggling to reconcile her own role and feelings with Carmilla’s plans.

The events of season 3 happened, remaining canon in the most basic, literal sense. But the emotional weight attached to them has disappeared into thin air.

Not gonna lie, I did breathe a sigh of relief when I saw that Alucard and Hector were okay. I’m soft-hearted! I don’t like seeing characters I like suffer! I mean, conflict is important, and I can deal with (or even enjoy in a certain sense) seeing characters suffer if it makes sense and serves a narrative purpose. But as far as I can tell, the season 3 finale was nothing more than lurid, meaningless violence. I probably wouldn’t have continued watching the show if it devolved into nothing more than finding novel ways to torture the characters.

Still, it doesn’t feel quite right to pretend like nothing happened either. Or, really, not that nothing happened, but that those things didn’t matter, didn’t hurt, didn’t leave lasting scars. That’s...almost kind of worse.

But, I thought, I can sort of forgive this sudden shift in the stars, given that there may have been some sort of change in creative direction relating to Ellis’ decreased involvement with the show.* Plus, season 3 was insanity. It’s not like it was full of great writing choices, so if we quietly ignore some of them, maybe that’s for the best.

*I only later learned that Netflix actually chose to continue with Ellis’ season 4 scripts. It is not lost on me that maybe Ellis doesn’t know how to write about the lasting effects of traumatic sexual experiences or how power dynamics can make a sexual relationship problematic because he doesn’t understand that those things exist.

Characters Being Nobody and Nothing Happening

Pretty Pictures, Not Much Else

Unfortunately, the disconnect between seasons 3 and 4 isn’t the only problem with this season. Although I felt that season 4 was a bit less boring than season 3 (I particularly enjoyed some of the earlier episodes of season 4), it suffers from the same basic problems of Characters Being Nobody and Nothing Happening.

None of the characters experience any significant development, let alone any sort of coherent arc. Sypha has changed slightly, becoming more rough and jaded. I did really like the scene where she talks about becoming the kind of person who says “shit.” I think it really speaks to how entering into a relationship with someone means taking on aspects of their lifestyle, and how that can change you in ways that you can’t predict and therefore can’t exactly “agree” to. Sometimes those changes are good, sometimes they’re bad, sometimes they’re neutral, and sometimes it’s difficult to know. But you have to accept that you’re sacrificing some aspects of the person that you could have been if you chose to live completely independently, or with someone else.

Trevor really hasn’t changed since season 1 when he first decided to take up the mantle of hero again. Likewise with Alucard. Hector and Lenore change, as previously noted, but that change is sudden, jarring, and occurs completely off screen in between seasons 3 and 4. Carmilla dies as exactly as she lived: bitter, angry, and violent. Saint Germain just kind of...gets fucked over in a nonsensical subplot, which is its own whole can of worms.

We also get several new characters in season 4, none of whom have developed personalities or motives, nor do they develop any of those things over the course of the season: Greta, Zamfir, Varney, Ratko.

And nobody. Does. Anything.

Trevor and Sypha spend the entire season trying to explore and aid Targoviste, which comes to absolutely nothing. They’re unable to help anyone, Zamfir dies, and they end up just jumping through a magic portal to the actually relevant subplot in the finale. Carmilla literally does little more than draw maps until she’s ultimately killed. Hector plays a minor role in Saint Germain’s extraction of Dracula from Hell; otherwise, he and Lenore basically just exchange banter. Saint Germain does sort of do some stuff? But it’s often unclear how he’s made his connections, who the people who are helping him are, or what exactly he’s doing in terms of his magic beyond “whatever it takes to get back to his lover.”

Sure, there are fight scenes, but they feel meaningless. There’s no context, no stakes. There’s also a LOT of dialogue, and it is. Not well written. Exposition is embarrassingly clumsy at times, and the philosophical musings are cliche at best, muddled and confusing at worst. There’s just not all that much going on.

That is, except for Isaac. But more on him in a second.

What Kind of Show Is This?

When the plot line adapted from Castlevania III: Dracula's Curse ended with season 2, the show struggled to establish a new identity.

Despite nominally dealing with themes like whether humanity is inherently good or evil and how to cope with wrongdoing and loss, seasons 1 and 2 ultimately boiled down to a pretty generic action-adventure/fantasy plot with found family/power of friendship elements. Main characters Trevor, Sypha, and Alucard don’t really wrestle with big philosophical questions or suffer any major defeats. They know that they have to take down Dracula for the good of the world, and they work together as a team to do it, with a little character development relating to their various backstories sprinkled in.

Then season 3 happened, and things got weird. The trio is broken up for what feels like a pretty trivial reason—Alucard has to protect the castle and Belmont hold, I guess? And the result of that decision is that the dynamics for the three main characters are completely unbalanced.

Ellis openly admits that he basically went feral with the writing of season 3, and it shows. The messaging in seasons 1 and 2 was cliche, but consistent. The message of season 3? Anyone’s guess.

Season 4 reversed the darkening of tone from season 3, but shares its inability to pick a story and tell it.

Isaac is the Main Character

Always has been.

While I can’t say that his character or arc are perfect, I can say that he actually has a character and an arc. He starts off motivated by his fierce loyalty to Dracula, then has to struggle to find his purpose once Dracula is gone. He goes from subservient to agentic. He goes from fully endorsing the genocide of humanity and not caring about his own life to seeing some worth in humans and genuinely wanting to live. He has an interesting moment that deepens our understanding of what night creatures are, while also serving as an exploration of the meaning of one’s fundamental nature. Most importantly, these changes happen naturally over the course of the show. They never feel forced or out of the blue, and while I feel like even more could have been done with Isaac’s character, there’s a lot to appreciate about what is there.

If there’s any thread holding Castlevania as a single, coherent work together, it’s Isaac. Not only is his character the best executed and the most coherent over the course of the show, his character explores themes that are larger than himself and relevant to the show as a whole, like those mentioned earlier: misanthropy versus a belief in the value of humanity; the ability to go beyond one’s “nature” or initial circumstances; and how to respond to being wronged or losing something important to you. Exploring the individual lives of characters is great, but really good writing usually requires going beyond that to reflect on broader questions and ideas. Isaac is the only character here that serves that larger purpose.

Sorry...I Just Don’t Buy It

The season 4 finale is crazy, although in a different way from season 3′s.

Varney being Death makes no sense on several different levels. I’m not going to spend a lot of time picking that particular plot twist apart, but I will talk about why I think it doesn’t work at the largest scale, and how I think season 4 might have been done better.

Last minute twists with zero foreshadowing are rarely a good idea, and this is no exception. Why introduce this “Death” entity at the last minute to be the most important battle of the season? The finale of the entire show, even? Besides the lack of logic or emotional buildup, this robs the show of the opportunity to make use of the antagonists that it already has. Since Dracula died, Carmilla has been the obvious choice for a new big bad. Why hasn’t she done more?

Season 4 feels crowded with characters and plot lines that amount to nothing. Why not bring some of these characters together? If Carmilla is the main antagonist, how come she never meets any of the protagonists (except Hector, who is a pretty minor player in this ecosystem) or even affects them in any way?

Season 4 feels like maybe it was trying to make something out of season 3 and the model that it presented, but it ultimately fails to do so. The writers throw the trio back together at the end anyway, so why not have them rejoin sooner and work together? Maybe Sypha and Trevor’s past experience with Saint Germain could have helped Alucard and Greta piece together what he was plotting sooner, rather than all four of them being completely blindsided by it in the penultimate episode. (Sypha and Trevor know that someone is trying to resurrect Dracula, but they fail to find out any actual detail about the plans, despite their supposed attempts.) Have characters actually do stuff, figure stuff out, advance the plot!

Likewise, maybe Carmilla becomes aware of Saint Germain’s scheming, sees it as a threat, and tries to take him down. Maybe she tries to get involved and somehow use alchemy or the Infinite Corridor to her own benefit. What does it look like when power-hungry Carmilla, who wants to rule the world, finds out there’s an entire multiverse out there? That could easily set her up to be a foil to Saint Germain, causing him to realize that what he’s doing is wrong.

What actually ended up happening in the show feels disjointed and often empty. In particular, most of the events that happen in the last two episodes just don’t really work for me. I didn’t like Trevor suddenly sacrificing himself to this random, new, super powerful enemy, or how the gems and dagger that he found just happened to be the perfect weapon to kill this new enemy, or how he inexplicably returns from the dead.

This kind of thing is what I mean when I say that this season feels like fanfiction. Trevor comes back from the dead for no discernible reason other than that it would really suck if he died. Greta as a character seems to literally only exist to be Alucard’s girlfriend and support him so that he doesn’t have to continue to be alone and potentially turn evil. Alucard’s trauma from Taka and Sumi and Hector’s trauma from Lenore are both conveniently erased. Even Dracula and Lisa are resurrected somehow and get their happy ending. And it’s like, I guess I prefer deus ex machina to the opposite (Does that have a name? When everything is going well but then something terrible happens for no reason other than to make things worse for the characters?), but they’re both bad writing.

God. This isn’t even getting into what happened with the Council of Sisters. And I don’t even really like those characters, but that doesn’t mean I want to see their characters handled poorly.

I’m not sorry that I watched until the end, but I can’t in good faith recommend the show as a whole. If you’ve yet to watch Castlevania, just stop at the end of season 2. While there are some shining moments in seasons 3 and 4 (4 more than 3), it’s just really not worth it.

[giulsherondale]

"Welcome Eda!"

Ehm Balca, dear, this is not your home so please don't behave like it is... Ahh my nerves.

And more the earrings tactic... Soo childish. I really can't stand her.

Loved that Eda literally throw the popcorn into Serkan's belly😂

And Sirius at the end, I love my son.

Honestly... I really love Ferit and Ceren together. They are so cute, and I love how Ferit is trying to correct his mistake. He confesses that he is love with her, that he constantly thinks about her. So sweet.

Serkan telling Eda that the first time they met she used the same tactic of Balca because she forget her bag in his car. I love flirty Serkan and the fact that he remembers everything about Eda and their relationship.

The bet, honestly this is only the pretext so that Serkan can take Eda to Paris and have a romantic moment so the two of them.

"What does Efe wants?"

"You heard. I said I'll talk to him in the office."

"How strange. Not answering anyone's calls, and doesn't answer questions. But he calls you."

"I still work for him Serkan. Did you forgot? Okay, let's move on to our bet. Perhaps you agree that I won."

"I've told you. Nothing is clear yet."

"What has to happen for you to understand? How much clearer should it be? She ordered the same dish."

"Maybe."

"She said she was interested in the stars."

"Everyone loves stars."

"This was not enough, she also said 'Love' looking into your eyes Serkan."

"I think when she talked about love she was thinking about another person Eda."

"She answered by looking at you."

"Who else Eda? There were two people in front of her. Either you or me. Should she look at the salt shaker?"

"Either you are really stupid, or you pretend not to understand. Okay. It won't last long. It is seen, in a couple of days she will already confess her love to you."

"And you will win the bet right?"

"Of course. It's not my business."

"I agree."

"At the end of the day, what matters is how you respond to Balca's attention."

"You're right. This is a special topic that only concerns me and Balca. This is between us."

"Between you? There is something? Then I will call her."

"Eda sit down please. You..."

"I'm not jealous of you Serkan Bolat."

"You're not jealous... Really?"

"Think for yourself what could have been. Is this funny?"

"Okay... But I'm jealous of you like crazy. What to do about it?"

"You crossed the boundaries again. We'd better have coffee in the office."

"Let's have coffe here."

"I have something important to discuss with Efe. We will have coffee in the office."

"Efe can wait."

"Then I'll send him a message."

"No emoji."

This was hilarious. Eda kicking Serkan under the table and Balca was obviously flirting all the time. I loved Eda expression, she was so jealous. Serkan is soo smart, I think that he is well aware that Balca is flirting with him and he pretend not to see in order to push Eda to near to him. My smart babe.

Engin and Piril... I really like them. They are opposite of each other but they are so in love. And I think their love is actually more stronger that the difference they have. And they take out the best part of each other.

"As if there is an invisible connection between them."

Balca, dear, believe me there is... There is. So better not to put your nose between Eda and Serkan because nothing will change.

"Your coffee Eda Yildiz. Much better now. When you aren't stressed, you're becoming even more beautiful."

"Don't stress me out then."

"I don't."

This moment was so sweet and romantic. Obviously ruined by Balca. And then when Eda takes his coffee mug I was laughing out loud. Love that my girl is marching HER territory.

WHAT ARE YOU DOING BALCA?! I think she is really stupid because of course by removing the paper in the dossier Serkan will lose faith in Eda but you're damaging everyone and the holding too. She's so silly. And Balca even said that she felt hurt by seeing Eda and Serkan close the night before... Darling you know him for two days what the hell???? I hate her really.

Soo the interview and the photoshoot aren't enough... Balca you aren't spending too much time alone with Serkan and you even ask him to get a photo together and post it... Balca age 33... Balca real age 10.

"Well, until I'm 100% sure, this bet will continue Eda."

"What else should happen to make you 100% sure? What else? I'm just wondering."

"For example... When she look at me I have to feel that everything inside of her melts... When she's trying not to show her excitement... I have to see it by the way she look away... And when she try to stand firm... I have to see that her heart starts to beat faster... In her breath, in her voice, in her scent, even in her veins... I must feel this love."

"Serkan..."

"When she says my name... I must feel everything inside of her tremble."

TOO MUCH HOTNESS IN THIS SCENE🔥

Serkan reads her like a book... Honestly I don't know what to say about this scene... It speaks for itself. And plus new Serkan is enjoying his life, especially when he has the woman who he's in love with in front of him... Ahh Serkan❤️

"I really need Serkan"

Sorry Balca maybe I did not understand well... You NEED Serkan? For what? I really don't get her and I think I never will.

"His partner will arrive tomorrow and he wanted me to bring some flowers to his house and get everything in order."

"You went to his house? While I was doing the interview, you were at this man's house?"

"Yes I was. But there was nobody here. So I left some flowers and left. Anything else?"

"What kind of psycho would want flowers in his house? Is he romantic?"

"What's the problem? At least he doesn't have any allergies."

"And I also have another kind of allergy."

"What kind?"

"I'm allergic to Efe. I don't trust him."

"You should trust me. I know what's right and what's wrong."

Ohhh Eda, honey, you don't have an idea how wrong you are... And I love that Serkan says that he's allergic to Efe. My jealous boy.

I really like boys time, I like when Serkan, Engin and Ferit are together. And every each of them have some suspects on Efe,his behavior and the secret partner.

"You won."

"What?"

"You won."

"What did I win?"

"You won the bet."

"What bet?"

"Serkan, you won the bet."

"Ah... Are you sure?"

"I'm sure. Balca is a little in doubt, so it happened. But she may still like you."

"Of course."

"I'm sure about it. You cannot change my opinion. She's just not running after you. As a result you won I lost."

"As a result, then, we are going to have dinner in Paris."

"It seems to me not to worth so many adventures. We can just go to that restaurant with flowers..."

"No no. A bet is a bet. Is it not? Therefore, after the results of the tender are announced tomorrow, we will take my plane and fly to Paris."

"It seems that I have no other choice."

GIVE US EDSER IN PARIS PLEASE✨❤️

During the ice skating scene was like the director told them to do whatever they want, have fun with each other, just be themselves. And I think we saw that, everyone was having fun, was laughing. In fact I really loved the scene it was one of my favorite of the whole episode.

"What?"

"I haven't laughed like that for a long time. It did me good."

"Me too."

"You keep well on ice."

"Ah yes? I am good in the air, on the ground, on the ice, in the elevators when you're around."

"Stop showing off. And when I'm not there?"

"You are always there. And you always will."

"Maybe tomorrow... Instead of going to Paris, can we eat fish and bread on the water front?"

"I will never agree. We will fly to Paris anyway. Have you ever benn to Paris before?"

"No. If you've noticed, I don't even ask you."

"I went. But to be honest, this is the first time I'm so worried."

"You probably planned everything hourly now. What are we going to do?"

"Yes. We will have a wonderful tourist route. First we will climb the Eiffel Tower, and then visit the best cafes and pastry shops. We will dine in restaurants. And then we will meet the order over the Seine. And then the Bridge of Arts and the Bridge of Lovers. But of course, none of this worries me so much..."

"Yes? What worries you?"

"Get lost with you in Montmartre."

"You won't get lost. You will not be lost anywhere. It seems to me that you even have a map of places where you are going in your head."

"You're right. But I've never been there before."

"Why?"

"Because I gave myself my word. I promised myself that I would go there with the girl that I really love. And it's you."

"Suddenly it got hot..."

Plus we got Serkan saying "Mon amour, je t'aime" and when she said that she understood what he said Serkan throw the ultimate romantic bomb "Because love has no linguage".

THIS IS POETIC CINEMA✨

Who the hell is Piril father?!😳

He has to be someone really important. He even has the guards.

And the final... Boommm... Grandma has come. I can't wait to see her and her plans.. In the fragment we saw that she will help Balca with Serkan because se has a "future husband" for Eda... Clearly grandma has no idea who Serkan Bolat is, he will never give up on Eda. Moreover I think that grandma arrivals is the thing that will unite Aydan, Ayfer, Eda and Serkan. They will work as a team against grandma. I can't wait to see it.

[fishmongeringstudies]

twenty three: after the end of the song the singer's voice travels down the hallway into the room at the other end, where god is braiding a skein of light into your hair

it's a five minute walk from the apartment in singapore to the subway station. after exiting the building, take a right, wait for the red light to turn, then keep walking until you see a sleek gray building rising out of the pavement at the end of the path. the station is underneath. take the escalator, elevator, or the stairs. all three of them will dispense you in the same wide underground space with the polished marble floor. buy a ticket or three. walk through the gantry. head down another flight of stairs, and then another, until you arrive, at last, at the promised place.

i'm told america is a country of cars. since the invention of the gas-powered vehicle in 1886 it has been unable to rid itself of this idea, this dream of flying, faster than light being chased out of the sunset, through suburbs, cities, and towns, and so to prove its ephemeral strength to an audience which wasn't looking, the distance between each grew wider. the average american spends nearly an hour behind the steering wheel each day. in the spring my friend told me, while picking a grilled cheese sandwich apart with a fork, that he drove eight hours to get to college.

it takes less than an hour to drive from one end of singapore to the other. if the traffic is good and you don't get lost in the central business district, staring down week-old acai joints and cafes full of shimmering mass-produced wall decor, it could take less. it took me an hour and a half to crawl from the west coast to the east on a weekday morning. i went by train, bus, and foot.

motion proves existence. if i can bring this body to five different points on a map then i have left a mark on all the places in between, in each footprint pressed into the soft dirt of each route. to exist in confinement is to be visible from one place only. and that place is hell.

this morning the elevator smelled like someone threw up in it. when i stepped inside with my laundry hamper slung over my shoulder i didn't notice the smell because i was too busy making brief but awkward eye contact with the other person who had been waiting for the elevator, who whispered once the door slid shut in a voice like ginger ale poured over a bed of pearls, 'first floor?' then pressed the button with a manicured nail. the elevator dumped us on the first floor and we walked off in opposite directions. after dumping a week's worth of sticky summer heat in the wash, i came back. and so did the smell of vomit.

today is saturday, which means last night things happened in this building that i don't know about and have no desire to look into. at about midnight i heard someone screaming from some distance away and looked outside to see a skinny figure tearing down the sidewalk that led up to our dorm, pinwheeling their arms like a madman or a pigeon with a bad case of flight anxiety. they sounded like someone had put the rosetta stone through a voice distortion program. behind them, out of sight, came the echo of high-pitched, shrieking laughter. after a moment, they stopped swinging their arms and turned to stare back down the empty, moonlit path. WHAT'RE YOU LOOKING AT, HUH? they bellowed, like a god. i looked away from my window.

they say college is about trying things you will regret and doing them with a brand of stupid fearless pride unique to the peculiar creature that we call the college student anyway, because nineteen year olds don't know what fear looks, sounds, or tastes like. the logic behind this is as follows. the corporate workplace doesn't tolerate individuality on principle, so if every kid's going to have an obligatory three hour long soul-searching indie film shot about their life then they might as well do it in a controlled setting along with a thousand other kids who are going through the same thing. some of them may be film majors. in which case, your indie film will be very good. some of them may be engineering majors. in which case your indie film will be very bad. regardless, you're guaranteed to come out of your choice of higher education money-making machine with something to tell your parents that'll make them bawl their eyes out and send you, cherub-cheeked and smiling, to your room.

they say college will change your life. i know because i said it. i wrote a poem about it. when i was eighteen i said i was going to take a bottle and a bottle-opener and then i was going to hop on a plane to america and then- fireworks and stars. the disneyland effect. step through these gates and all your anxieties will go away. everyone will live forever. your grandfather doesn't wish you were dead. and magic, oh, magic lives right here, under the skin of the clavicle, where all wishes are made. mouth on neck. a resuscitation activity.

but someone needs to cut the grass. each morning at eight a man in a green vest takes a lawnmower and drives it up and down the football field across from this building. the lawnmower is loud. it reverberates in my head and makes it hard to concentrate on pretty much anything, so i get out my earplugs and i sit there in the static and resign myself to half an hour of nothing. i can only begin to imagine what it must be like to be the person sitting there, at the heart of all the commotion, making eight am on a saturday morning sound like a symphony orchestra. and then i stop trying. because imagining pain is nearly the same thing as feeling it. because our brains know how to do more than they're worth. we could replace the imagination with a photograph and a virtual-reality headset and it wouldn't live up to half the stuff that goes on behind the eyelids, to the cinematic masterpiece that we wake up to each morning. this is why we tell such good stories. this is also why we struggle to finish them.

this morning i woke up with a turquoise ocean on my tongue. in my sleep i walked to the end of the world, where a single island stood guard over a sliver of sea so bright it hurt my eyes to look at it. the island was populated with ferns and palm trees and flowers in shades of pink and silver, brimming with a vitality that stood frozen in a motif of life itself, the ferns not swaying, the flowers empty of bees. it looked like a place you went to die. we stood there staring at this snapshot of death until my mother and sister got up and began to run back towards the center of the world, to its beating red heart, and i scrambled to catch up to them but everything in my backpack had fallen out somewhere in between reaching this raft of terror and stopping to look up at the gray sky and i began to panic. i bent over to pick up notebooks, pencils, a crumpled water bottle, all the while begging the others to wait for me. just give me a minute. just give me a little more time.

under the assumption that people can and always will hurt other people, every relationship becomes a matter of discerning who will make the first cut and who will be the one left standing on stage, clutching a bloody arm and calling out for a friend who cannot reply. even the other half of your soul, narrated as such by the poets, can seek to end you. after all, self-destruction is in vogue again. it is the ultimate act of defiance against a state obsessed with keeping its citizens alive in the most horrible ways possible. it is also, always, unexpected.

under the assumption that life is a three hour long indie film about self-discovery, everything you do cannot and will not be held against you when you are twenty-eight and your boss digs up the old paper trail of who you were in college, unless you buried a body in the backyard with your best friend, freshman year. people change people change people. change. people change. people fall into rabbit holes and emerge with new hands, new eyes, new teeth. people do things. every day, we wake up and we make the decision to do things. sometimes the thing is going to the park. sometimes the thing is making breakfast.

either way, we are performing miracles. because motion is about dislocating yourself from the socket, about cutting the person out of the painting; even if you put them back in the same painting, the act of returning tips the scales significantly in favor of the heart. which beats, through all of this strange, repetitive violence, down the elevator, down the path that leads to the subway that you haven't been on since the start of february, when you believed in no one but yourself. little has changed since then. but you understand now. you are not heading for the promised place. you are the promised place; you are a promised person. you promised yourself when you were born that you would live to see the grass grow out after a long, dry winter. and now here you are, ready to live it all.

06.12.21

[jinjojess]

超高校級の英雄 V3: Danganstuck Classpects V3

Okay, okay. 

Enough waiting around; let’s get this up and ready to go.

These are obviously just my own opinions on things, and as such are very closely tied to my own personal interpretations of both the V3 characters and also of the classpects themselves. For clarity’s sake, I based the aspect rationalizations from the official lore here, and I used the MSPA wiki for direction with the classes.

Just as a quick note, I used some of the FTE info (which is debatable in its veracity) for some of the assignments. Sorry, gotta work with what I have to work with. Also, if anything is expanded on in Homestuck 2, I have no idea, as I haven’t read it (or the epilogues, for that matter).

Akamatsu Kaede Prince(ss) of Time Derse Dreamer The Land of Sharps and Flats

Going off the canon description of Time, it makes perfect sense for Akamatsu. She’s goal-oriented, wants to skip to the credits, and would rather take a leap of faith than wait things out. To say nothing of the strong associations between Time and music. I went with Prince for her as a class since it’s the destroyer class--Akamatsu very literally destroys both Amami and herself (and her goal of getting everyone out alive) thanks to her own impatience in wanting to stop the one responsible for the killing game. I had her sleep on Derse since she’s supposed to be a bit of a protag subversion in that she hatches a literal murder scheme. Her equivalent of the Beat Mesa is a big metronome. 

I also have an alt land name for her in The Land of Ninths and Eighths to reference the time signature of Claire de Lune (which is 9/8). 

Saihara Shuuichi Page of Doom Prospit & Derse Dreamer The Land of Glass and Fingerprints

I considered making Saihara a Rage player at first given how the ultimate conflict is (supposedly going to be) solved in Chapter 6, but the description of Doom players as being commiseraters rather than healers really stuck out to me as appropriate for Saihara. Of all the characters in the game, he’s one of the few that doesn’t actually push anyone to heal, and his ultimate gambit in the 6th trial is to counteract the audience trying to self-medicate with catharsis at their expense. He takes a while to come into his own, which is the signature trait of the Page class, too. As a Doom player, he dreams on both moons, which for reasons I can’t quite articulate just clicks for me. The glass in his land name references not only magnifying glasses but also mirrors, since his is very much a journey of self-reflection.

Amami Rantarou Seer of Breath Prospit Dreamer The Land of Sails and Nail Polish

I really like what I came up with here for Amami. Breath is linked pretty strongly to his FTE reveals about how his desire to explore led his sisters to disappear into the ether (and changed his direction in life), and the angst he feels over wanting to reunite with his sisters hints at his trouble with bonds (the Breath inverse Blood’s territory). I incorporated the boat stuff into the theme with the idea of sailing for his world name, while the nail polish is for his sisters and that extra scene with Akamatsu. I went with Seer as the class since Amami Knows Things, and there’s that bit about Seers “having a strategy guide in their head” that I wanted to be a callback to the special map and the fact that he’s the Shogo Kawada of this operation. Prospit as the dream moon just felt right, so there it is.

Iruma Miu Thief of Space Prospit Dreamer The Land of Caulk and Nuts (and Frogs)

I don’t care if you have to have Frogs somewhere in the Space player’s land name, I will stand by that pun! So Space is all about creation and seeing the bigger picture, and to me that jived with how Iruma is an inventor. While Time is deeply linked to music on a conceptual level, Space is linked to nurturing, including growing plants, raising animals, and parenting. The Space and Motherhood parallels fit well with Iruma’s canon aspirations and goals. I went with Thief because Iruma is very much out for Number One, and wants to hog up all the creation ability for her own ends. Prospit dreamer because she’s the type.

Ouma Kokichi Bard of Heart Derse Dreamer The Land of Kings and Horses

There’s a lot you could do with Ouma, and I’m sure that plenty of people peg him as a Void player because of the lying. For me though, I read Ouma has being primarily concerned with his own identity, and how he’s perceived by others. Fractured senses of self are a Heart concept, after all, and it seems that Ouma likes trying on identities to see which one ultimately fits him best. I made him a Bard because they’re unpredictable and all about helping or hurting a session in random turns, but also because Ouma himself is allowing his own identity to be destroyed thanks to his paranoia and inability to let anyone get close to him. He dreams on Derse with all the other schemers, and I went with a name pun for the planet that can also function as a chess reference (ala his bandana and his 5d chess approach to life).

Kiibo Sylph of Mind Derse Dreamer The Land of Shells and Ghosts

Since Sylphs are healers, I wanted to have Kiibo in that role, since he’s usually trying very hard to smooth things over and fix problems. I went with Mind for him for a few reasons: one is that Kiibo’s self-identity is subsumed by his “inner voice” that later turns out to be audience suggestions, meaning that he’s healing things through the choices of others and doesn’t have as much of a Self as it were. Another reason is because I made Naegi a Mind player and Kiibo is clearly meant to be a bit of a callback to him (up to and including the fact that Naegi very much functions as an audience insert in the first game). I made Kiibo a Derse dreamer because he literally hears the whispers of the audience members telling him what to do. The land name was me having a little fun and poking at his aspect a bit.

Gokuhara Gonta Heir of Light Prospit Dreamer The Land of Pins and Wings

Light is all about knowledge, and Gonta has, while specific, quite a lot of knowledge. He likes learning, and is open to new information to re-evaluate what he knows. I made him an Heir since the speculation is that they are subsumed in their aspect, and Gonta is very passively knowledgable. He often offers helpful suggestions based on things he just happens to know, for instance, and what ultimately undoes him is Ouma showing him the “truth” of things, which Gonta doesn’t even think to question. He’s a Prospit dreamer who’s been awake for awhile, unwittingly watching the clouds for signs, and his land name is a reference to pinning butterflies into a collection.

Shinguuji Korekiyo Mage of Light Derse Dreamer The Land of Scrolls and Masks

Meanwhile, on the other end of knowledge for knowledge’s sake, we have the other scholar, Shinguuji. Unlike Gonta, he’s actively out there seeking knowledge, rather than being drawn to it, and his motives are undeniably selfish in nature, so I wanted him to be an active class (I’m assuming Mage is the active counterpart to Seer, shhh). Shinguuji uses his understanding of his field--humans--to progress his own goals and wants. He’s also smart enough to know what pieces of information to share and which to keep hidden behind a convenient zipper. Made him Derse because shemey as all hell, and I went with some general imagery for folklore for the land name.

Chabashira Tenko Knight of Breath Prospit Dreamer The Land of Sweat and Flipping

I think we can all agree that Chabashira is probably not a Derse dreamer. Meanwhile, I chose her aspect for a couple of reasons: first, because aikido is generally about evading attacks which strikes me as a windy kinda deal, even if Neo Aikido is a bit different; second, because her central conflict in the game is about learning to let go of a bond she desperately wants to forge with Yumeno (which, again, is a Blood-related matter); and third, because flipping somebody would create a gust of air movement and that image made me laugh. I went with Knight for Chabashira, since the most common interpretation of Knight is that it exploits its aspect, and I think that Chabashira is able to exploit the various currents of influence (especially in Chapter 3) to great success. I also think that she exploits The Breeze to nudge Yumeno’s path out of danger by taking her place in the kagonoko ritual. The land name is the sweat of training in martial arts, and the flipping is not just about said martial arts, but also about being flung off a see-saw.

Toujou Kirumi Knight of Life Derse Dreamer The Land of Sticks and Carrots

Life players are generally known to be trying to fix everybody’s problems, whether they want that to happen or not, and if that doesn’t scream Toujou to you, I don’t know what will. I went with Knight again for the exploitation aspect of it, where Toujou uses her position as authority in the group to further what she believes to be the greater good (hedging my bets here since we don’t know if Knight is active or passive). She’s clearly a Derse dreamer, because even if she wasn’t schemey, she’s droll as fuck. Her land references the two main ways to motivate someone: threats and rewards.

Harukawa Maki Knight of Time Prospit Dreamer The Land of Beans and Demons

I know, I know, but really, if you think about it, HaruMaki and Dave do kind of have a lot in common (and not just the fact that they have red eyes). The part about Time that fits well to me is that a Time player’s life is marked by strife and struggle, which HaruMaki has in spades. Like Akamatsu, she’s impatient and often acts rashly, in an attempt to cut out the middle man or advance what she thinks should be happening. She’s the last of our Knight squad, exploiting Time (or more broadly, destruction/entropy) to try and help out, such as trying to off Ouma or attack the Exisals head on. There’s also a bit on the Wiki that’s speculated that Knights often try to conceal their insecurities by acting tough, which is HaruMaki’s M.O. While she doesn’t have the music theme, assassination is very much about timing. I had her dream on Prospit because she’s not really a plans person, deep down, and her land name is a joke about her name/birthday referencing Setsubun.

HaruMaki doesn’t have a Beat Mesa equivalent, but she does have a tool specifically for causing a Scratch: a huge, unwieldy kantana.

Hoshi Ryouma Prince of Blood Prospit Dreamer The Land of Grass and Clay

Here you go, anon, what you were waiting for. I personally peg Hoshi as a Blood player, through and through. He’s stubborn, values bonds with other people, can lead via inspiration rather than direct command, and feels grounded. I think he’s a Prince thanks to the fact that he ended up destroying the very people who meant so much to him, and in the aftermath continued to push people away and pre-emptively destroy any possible future bonds. He’s a Prospit dreamer because he can see flashes of the future, though he often doesn’t read them correctly. His land is a reference to different types of tennis courts.

Momota Kaito Rouge of Hope Prospit Dreamer The Land of Wishes and Stars

The key part of a Hope player is that they can dream up a better world than the one that exists, and that can definitely be said about Momota. Like Jake, he’s a bit in his own head and immersed in his fantasy version of reality, where he plays the hero and is able to save everyone else. He’s somewhat gullible, to a point, and he’s the most superstitious of the bunch, showing how much stock he can put into the thing he believes. The sheer power of Momota’s belief is infectious, hence why I made him a Rogue--he’s out there trying to impart his sense of belief into those around him, for everyone’s benefit. He dreams on Prospit because of course he does, and I made his land name reflect literal space in conjunction with his talent, and to riff on that inspirational poster about shooting for the moon and landing among the stars.

Yumeno Himiko Heir of Doom Prospit & Derse Dreamer The Land of Death and Magic

While most people who played V3 picked up on Saihara being depressed, not everyone has noticed that Yumeno also suffers from the same bleak view of the world. Similarly to Saihara, Yumeno is not a healer, or a doer. She’s here to sigh and complain and tell you that’s rough, buddy. Because of that, I can definitely see her as a Doom player. I made her an Heir, as one who is consumed by their aspect, since Yumeno is very much doom and gloom a lot of the time. She’s also subconsciously drawn to death, as she gets close to both Angie and Chabashira before their untimely demises. It’s through their deaths that she comes more into her own, hence why it’s also part of her land title (I don’t think I have to explain the other part). She dreams on both moons because Doom players are implied to do so.

Yonaga Angie Witch of Hope Derse Dreamer The Land of Prayer and Idols

Like Momota, Angie has intense faith on her side; if Angie thinks it’s true, it’s true. She’s also similarly not looking at the same world as everyone else, instead seeing something slightly different and colored by her own beliefs. However, unlike Momota, Angie is not interested in helping others find their own faith, and would rather use the power of her belief for her own gain. Hence why I made her a Witch, an active class that manipulates its aspect. The other characters may not believe in Angie’s religion, but they sure do believe her when she tells them to sacrifice their autonomy for safety. I put her on Derse since her god could very easily just be a specific horrorterror, and the land name is connected to religion. 

Shirogane Tsumugi Maid of Void Derse Dreamer The Land of Scripts and Swatches

I went through a lot of possible Classpects for Shirogane, including Light, Space, Seer, Heart, etc., but I think that this is what I’m going to settle on. Derse Dreamer because not only is she schemey, she’s listening to whispers of her bosses and the ratings, albeit in a less direct sense than Kiibo (what’s more horrorterror-y than a focus group!). Void as an aspect works well to me, since Shirogane is always going on and on about being plain and forgettable, about how she hides in plain sight, and even her talent is about becoming somebody else rather than herself. She’s also the one who in the end throws the “truth” into question, instead concealing it in favor of ambiguity. I went with Maid since one of the speculated interpretations is one who creates or creates through their aspect: she not only (arguably) erases the casts’ identities and memories, she does this in order to have “blank pages” on which to write the killing game’s drama. Whether Maid is an active or passive class is unknown, but if it’s active it makes sense since she’s using other people for her own gain, and if it’s passive, it could be argued that she’s doing it in service of Team DR or the audience.

Speaking of...

Bonus!

The V3 audience Muse of Space The Land Beyond the 4th Wall

I don’t like assigning Master Classes unless I have a really good reason, and here I think it works. The fans are the epitome of the “wait-and-see” model, and their crime as it were is their general apathy toward the very real subjects of the killing game. They’re all big picture and no important details or nuance. You can’t get much more passive than being an audience member, hence Muse class, yet it’s their desire to recycle the series over and over that leads to the killing game’s very existence (they’re also not too upset about letting the kids’ past lives be sacrificed for this act of creation). The V3 audience is collectively in the real world as opposed to the Medium, hence the “planet” title for them. In the context of an actual Sburb game, they’d likely be Exiles.

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

Yeah, no Rage players in V3. I couldn’t find my notes the other night when I got home, so I just went ahead and reworked all of the classpects from there.

The Aspects were fairly easy to assign, but the Classes really had me scratching my head for a good long while. Maybe it’s because it can recontextualize the Aspect elements depending on what it is, or maybe it’s because we don’t have as much information about how Classes work. 

Anyway, whew, that’s it! Hope you enjoyed!

[askmerriauthor]

Jedi: Fallen Order thoughts 2/?

Discussion on "Star Wars - Jedi: Fallen Order". First post here, spoilers and lengthy rambling after the jump.

Honestly, I love this box art so much purely for the facts that 1) I made sure to remove that poncho the instant I could because the game's cloth dynamic rendering had it flailing about wildly as if it were trying to attack the universe through sheer defiance of physics in every cutscene. And 2) see that alien dude on the left with a pistol? In-game, he's an utter coward who never once participates in anything remotely resembling violence and sure as hell never wields a gun. It just reminds me of how Kirby is always given angry eyebrows in the US because marketing people are fucking stupid and think players won't be drawn to the game with an abjectly cute mascot.

So! The story.

As mentioned in my previous post, "Fallen Order" basically wants to tell a Found Family tale about a ragtag group of remnants who leave behind their previous lives and forge a new future together. We have our main character Cal Kestis; a former Padawan who survived Order 66 and has been in hiding for a handful of years. Cere Junda; a former Jedi who's cut herself off from The Force, Greez Dritus; a gambling addict pilot with a troubled past he's trying to leave behind, and BD-1; an annoyingly named but utterly lovable Droid who is far and away the best character in the entire damn game. There's also Nightsister Merrin; the presumably last survivor of the Nightsisters and potentially Cal's love interest, but she basically only shows up in the last 10 minutes of the game and doesn't get a lot of screentime despite being presented as a major part of the cast.

The game takes place a handful of years after the purge of the Jedi in Order 66, where both Cal and Cere's core character thrust is tied into. Cal was a child who survived only due to his master sacrificing his life to save him and has been wracked with guilt and PTSD ever since. Cere, on the other hand, unintentionally abandoned her own Padawan and other younglings, directly leading to their death, corruption by the Dark Side, and almost falling to the Dark Side herself. The bulk of the narrative throughout the game is dealing with the relationship these two have with one another, coming to terms with their own trauma, and moving forward from there. Meanwhile, the overall plot itself focuses around finding a Holocron that has a map and list of Force-sensitive children throughout the galaxy, which the gang can use to rebuild the Jedi Order while also keeping it - and thus the children - out of The Empire's hands. The whole series of events culminates in a big showdown between Cere's former Padawan whom she abandoned and became corrupted into an Inquisitor, Cal contending with his own guilt, and the decision on whether or not the gang has the right to interfere with the Force-sensitive children's lives and potentially put them in danger if another purge were to occur.

On paper, it's a solid enough story. The actual execution leaves something to be desired.

Something I absolutely hate in games (which has become frustratingly abundant in recent years) is the illusion of choice. If a player is presented with choosing A, B, or C, that decision should matter. Which path is taken should have impact, consequence, and change the course of the story. If all three routes converge back together at the same outcome regardless of what you picked, then your choice never mattered at all. "Fallen Order' suffers from this. There are fairly sporadic points in the game where you're given the option to choose how Cal will reply to a given conversation, or whether or not to take a certain action, but it doesn't matter at all. The conversation's outcome nor the overall story isn't affected by your choice (or even if you bother to have the conversation at all), and the any time you try to do something other than what the game wants you to do, it'll just reset itself endlessly until you cooperate. You have no choice in the matter, but the game makes it appear as if you do to emulate your involvement.

I absolutely hate this in games. If a game presents you with choices, then your choices should have consequences. Your input should matter. There is absolutely nothing wrong with a linear, plot-driven game where the player has no direct input on the narrative. If anything, that gives the story even greater opportunities to shine because it allows the writers and directors to be in full control of the presentation, characterization, and story.

At the risk of sounding like a cranky old man, this is very much a "back in my day!" sort of situation where older games wouldn't shy away from simply locking a player out of content if they chose a certain path. If you pick A, you don't get to see what happens down B or C. If you want to join the Jets, you don't get to join the Sharks. If you want to see what lies down those other routes, then replay the game and make different decisions. Sometimes it was a specific design choice, other times it was a way to handle hardware/programming restrictions. But there's a big notion these days in particular where there's a desire to make sure the player sees all the game's content up front. I anecdotally chalk it up to an increase in non-gamers entering into video game development at management level and making design decisions they're not qualified for, but that's just my own take. Like, I understand the thought process behind it. "We have all this content, so we want to make it a selling point and ensure the player gets to see all of it! If they play our game and miss a bunch of stuff, they might bitch at us and cause reviews". I get it, I do. But it's also bullshit because it directly harms the final product. If a game is good, players will replay it ad nauseum for ages beyond release. So they're going to see all the content one way or another. When the "we have to let the player access all content up front" mind set is in effect, it means the player's choices ultimately don't matter and the resulting abundance of content is quantity rather than quality.

In the case of "Fallen Order", your choices don't matter one bit and it's not even out of a case of accessing content. For some reason the developers put in this vestigial, pointless façade of a dialogue tree and choice system when the game frankly would've been far stronger if it had just been left out entirely. Developers have to invest one way or another. Either make it a fully narrative-driven game and tell a solid story, or make it a player-driven game and put in the effort to make the player's choices matter. Especially in a Star Wars game, as RPGs in this franchise have historically have Light/Dark Side choices, character deaths, and alternate endings based on your decisions. A big part of "Fallen Order"'s story is characters contending with the risk of falling to the Dark Side because of their trauma, but the game itself never actually gives the player any chance to explore that at all. It's a huge missed opportunity either way.

I think that's where a lot of the story's trouble comes from in the end. It's a lot of build up on a good idea that fizzles out and goes nowhere. Cal spends the entire game getting to a point where he's ready to move on, and then the game ends. Cere comes to terms with her past mistakes and tries to redeem her fallen Padawan, only for said fallen Padawan to be killed abruptly and completely cut off that entire story thread. Greez's past coming back to haunt him is shoe-horned in randomly and never goes anywhere. Merrin doesn't have enough time on screen to matter. There are three major villains throughout the game who are just cast aside casually and with no lingering impact for ever having been there. The biggest final boss, who has been the core antagonist and a major point of emotional conflict for the entire game, is discarded with no resolution because this is a Star Wars game and we just can't have one that doesn't feature Darth Vader sweeping in to steal the spotlight.

It's just... ugh. There's potential here. There's obvious, glowing moments of potential where things could've been developed into something really impressive if they were just given the opportunity. It feels like a huge waste and the end result is just a "meh" game that doesn't go anywhere, doesn't contribute to the setting, and could very easily be dismissed entirely from the franchise with absolutely no impact.

[petruchio]

i want to try to articulate my own dislike of mal in the grisha trilogy because i want to be clear that it doesn’t stem from a place of me having wanted alina to end up with someone else, nor would i really have been angry if she HAD ended up with mal if it had been written well, but i would like to take a stab at why i feel that it WASN’T. 

1. what was alina’s power meant to represent? this is honestly my main sticking point in the series as a whole. in my opinion, the way the “grisha power” is portrayed in the books is fundamentally antithetical to alina’s choices at the ending of the series. grisha power in the novels is portrayed as something innate, as something which is not separate from the self but merely an extension of the self, and as something which is essential for one’s health and, literally, lifeforce. “does the bird feel the weight of its wings,” etc., it is literally portrayed as something which is an essential part of one’s person. so -- this book is YA. YA, especially YA fantasy, tends to have some lesson to draw out to its young readers, some analog to real life meant to demonstrate something deeper. this begs the question then -- WHAT does alina’s power represent? what are its metaphorical implications? i think it’s crucial that she is initially only able to access her power when she LETS GO of mal and her unhealthy attachment to him. and at that turn in the story, she finds herself happier, freer, and healthier. so.... my question is what on earth are we meant to draw out of this, metaphorically, other than the idea that unhealthy attachment and obsession to others limits us and once we trust in ourselves completely we find our inner power? (i’d be fascinated if anyone disagrees or has different ideas about what the power and her ability to use it is meant to represent. but i have a hard time understanding it as anything else) we can further draw out some of the more literal metaphors -- regarding light and the sun. light which tends to represent joy, which reveals the unseen, which brings forth what is hidden. i think these are all pretty... on the nose metaphors. within her, alina contains this power to reveal what is hidden, to bring into the world joy and safety, and to bring balance to a world plagued by darkness. and her choice is to just... not? i just don’t think it tracks with everything else that grisha power is meant to represent.

2. what was alina’s arc meant to represent? this kind of ties into my larger issue with grisha power, but on a more individual level. you hear people justify alina’s choices by saying “she was a reluctant leader.” to which i say... then what was the point of the entire series? what did she learn? that actually her life was fine and she didn’t want to change it? i mean, power to her, but i again don’t think it follows with the portrayal of her discovery of her power (both her literal sun power and her ~internal~ power and strength) what was the point of having her have to “let go” of her attachment to mal in order to discover her power? what was the point of the line “there’s nothing wrong with being a mouse, unless you’re meant to be a hawk?” i just think these narrative beats don’t map on to her ultimate choice. 

3. the love arc of alina/mal is poorly written. in fact -- there IS no arc. she starts and ends the books in love with him. as a reader, i think this is one of the most uninteresting forms of romance to read. we have no sense of WHY she falls for him, other than the fact that they’re childhood friends which we are exposed to in a few flashbacks and stories about a vague “meadow.” but we don’t actually SEE any of this -- we basically have to take alina’s word for it that mal is amazing and perfect and he is the only person who sees her for who she “truly is” (which as an aside, i still don’t buy because again, if her power is something innate to her, he categorically DOESN’T see her as who she truly is and her whole person.) it’s hard as a reader to fall in love with a character if we don’t see the protagonist fall in love with them as well. plus, like i pointed out in her need to let go of mal -- in the start of the series, her attachment to him is framed as unhealthy and obsessive, as something she has to learn to let go of in order to become her whole self. i just don’t understand this metaphor, then, if the ultimate conclusion is that she was right to begin with.

4. i would like to draw a comparison here to the hunger games, which is a book i feel hits many of the same beats but does it (obviously perfectly) and justifies and explains katniss’ choices within the metaphorical and symbolic meaning and argument of the trilogy as a whole. i propose to break this down into three subsections and draw comparisons:

4a. the love interests. i guess mal is meant to be a sort of peeta like character, one who advocates for peace and sees the protagonist for HER not as a tool or a device. but again -- does he? i think this again ties into the idea of power as innate. none of katniss’ powers are necessarily innate to her. she’s not an amazing archer because she just happens to be so, or because she was just born that way. it’s something she learns and is forced into because of the poverty her and her family face, which again ties back into the larger social commentary of the series. she doesn’t become a symbol for the revolution because of some magical ~thing~ that she has, but because she is used and manipulated by the adults around her. but alina isn’t like that! she doesn’t learn to be a sun summoner because of the society she lives in, she just IS. she is also used as a symbol by the adults around her -- but because of her LITERAL power. so mal’s dislike of that aspect of her doesn’t read like peeta’s distaste for the capitol, it just reads like... he doesn’t like a part of her. then i guess you also have a bit of the gale mapped onto mal, as her childhood best friend. but i again feel that this is a poor analog. again with the distaste for the capitol vs. distaste for her grisha power. gale rejects katniss’ new life because it seems to him to represent the wealth and power of his oppressors. mal rejects it for apparently the same reasons -- but the power is represented as something internal to her. it’s different than wearing fancier clothes or living in a nicer house because of artificial social divisions. sure, the SOCIAL divisions between grisha and non grisha in the book are artificial. but she LITERALLY has a magic power. so again to my point about her power -- it just doesn’t make sense in context of how the power is described. 

4b. the villain. let’s imagine a hunger games where president snow is young and sexy and manipulates katniss by making out with her instead of just threatening those she loves. uhhhhhhhhhh. i just think this confuses the reader too much to be effective. once again, if this had been written a bit better i think it could’ve worked, but like. it wasn’t. there’s a reason people really thought they were going to end up together. in thg is that katniss is just.... some girl. she’s not snow’s only equal in the world, the one destined to balance his power, the only one who can understand his life and reality, his only immortal partner. again with the symbolism just not matching up to what seems to be the intention behind the story. okay, the darkling is evil. alina is good. so the solution is... kill him and stop using her own power? but the rest of the grisha and their powers are all fine? again, WHAT is the implication about power? it just doesn’t make sense.

4c. the choice at the end to live a peaceful life and reject the narrative which society has placed on you. this is where i think tgt really falls flat at trying to achieve and make a similar argument to thg. crucially, katniss’ choice is pretty metaphorically obvious. gale and peeta both hate the capitol, but have different opinions of the solution. peeta represents peace, gale war. (suzanne collins has literally said this.) katniss’ choice at the end of thg to live peacefully with peeta is a broader commentary on the nature of peace and the need to choose peace. but alina’s choice doesn’t read this way -- because in order to choose peace she literally has to deny a part of herself! a part of herself that is clearly an analog to finding herself in the series! 

these are all just some general thoughts about where i think tgt fails to really take on the implications of the power it seeks to portray. i think there are a lot of potential and legitimate criticisms of a lot of my points here, but i think overall it will always come back to the power for me. why was she sickly and sad before she discovered her power? why does she find joy and fun only once she is able to access a part of herself which she had repressed for so long only out of an unhealthy attachment to her childhood? if the power she wields is just too much for the world to handle, and same with the darkling, then why is grisha power portrayed as innate natural and essential? 

the realities of how power is portrayed in the grisha trilogy are why i ultimately believe her choice of mal and her choice to give up her power makes no sense and does not track onto the literal and metaphorical implications of the trilogy.