#but that really was my bad because there were multiple clear illustrations of him by then

[kittybobitty]

I've reached volume 3 in my MDZS reread and every time I see the back cover, I remember how shocked I was to find out what Wen Ning looked like.

For context, MDZS was my first danmei, one of my first in depth introductions into Chinese media, so some of my head canons were inspired more by the Japanese media I was more used to. Also, MXTX barely describes folks past "Handsome" and that is... subjective. I had yet to realize handsome just meant "fair faced pretty boys" in danmei (especially MXTX)

So when I first heard "Ghost General" I imagined something like

I also thought he was giant, since the first time he appeared he just threw hands with a 30 foot statue

And while I had figured out my volume 3 that he was in fact, not a giant. I was still imagining him as a tall, buff, imposing dude in armor

And then I turn over volume 3 and

WHAT DO YOU MEAN HE'S A TWINK!!!

I had to take some time to process it

[luvbloggingandreblogging]

Okay, so, I'm the one who showed Lil this post, and so I'm responsible for having feelings about your response to her thoughts, lol. So here I am!

I am not a literary scholar and know very little about postmodernism and all the stuff you said about it kind of overwhelmed me, but I do love Eridan and I love most of this original post about him and so I have to go ahead and say that I also don't think Hussie originally had any big plans for him beyond his antagonistic role.

Here's the thing: I like the retcon. I've been reading since around 2012 or 2013, so I'm not some new viewer who hadn't read the comic until after it had already happened. I was reading along with everyone else, and I thought the retcon made complete sense. It scanned perfectly in the meta narrative we existed in, as someone who had experience with people like Vriska her impact on the characters involved made perfect sense to me and I even wrote a post about it at the time (again this was ages ago so I don't stand by ALL of the points made in it but it illustrates my stance), and I absolutely did not agree with the idea that it devalued the characters we'd been following the whole time because of the levels of meta involved.

Hussie is a good writer. But even great writers have their weaknesses. Hussie is great at character voice and they're great at arranging a ton of plot points into satisfying cascades that all lead into each other and the Lil Cal reveal genuinely did cause me to have a mental breakdown.

But when the comic multiple times looks directly at the audience and says "nah man character arcs are bogus people are just people," it makes sense to think that maybe Hussie wasn't really clear on where he wanted every character to go by the end of the story. They definitely knew where they wanted the plot to go by the end, even if they fell victim to the same shit all long-running media creators face when they realize how fucking huge their narrative has gotten. I think Game Over and the retcon were, in a way, a response to Hussie believing they'd written themselves into a corner.

However, that doesn't make them bad, or the stuff that followed it bad. I think it definitely could've been handled better -- why can't Terezi just do the memory trick on everyone?? that option is right there?? -- but I think that most of it was really good, honestly. A lot of the problems I have with it are in execution, not in content.

And, here's the thing. If Hussie wanted to bring everyone who was dead back? That's what the retcon would've been there for. It was the perfect opportunity to have John pop in between all of the major fights and stop a few murders. Even if you want to argue that Terezi wouldn't have thought of that, there were absolutely no rules on that shit.

These formspring answers are from 2011. A lot can change over five years of making a project, especially when also dealing with a fandom you have a love/hate relationship with. This is the comic that created 10-12 caricatures of fandom culture meant to be as annoying as possible and whose main villain is a screaming tween at a computer. Hussie was a great writer, sure... but I don't think they had grand plans for all of their characters that got derailed by whatever you think caused the retcon.

Murder, Love, and Destiny: An Eridan Ampora Character Study

Warnings for things from Homestuck, like discussions of child abuse, mental illness, murder, suicide, etc. etc.

Because there's a huge wall of text after this point, I'm going to summarize what I hope to convince you of in bullet point format, and then hope you'll actually read the rest of the text before arguing with me about it.

Eridan is the least casteist highblood, if you ignore all the slurs.

Those are his emotional support slurs.

Pale EriKar was not only canon, but set up to be endgame.

Eridan is incredibly plot-relevant, thematically relevant, and was definitely originally intended to be brought back to life, alongside the other dead trolls.

He's Sad.

The first thing we have to establish is what counts as "canon" for the purpose of this essay. I am only counting the original comic up to Game Over, after which there's a general consensus that Hussie kind of gave up on his original planned ending, and slapped together something that most people hate. So I am immediately disqualifying Pesterquest, supplementary material, fanworks deemed canon, the epilogues, and Homestuck^2.

Moreover, we are taking Hussie's commentaries with a grain of salt, for two reasons. The first reason is that I firmly believe - and will be arguing - that the original plan was to bring Eridan (and the other dead trolls) back; therefore, Hussie (who has a track record of playing coy with future plot twists) can't speak too fondly of him, lest he give it away. The second reason for de-emphasizing Hussie's words is that, post-retcon, Hussie isn't very well going to say that he had plans for a better ending, and then didn't execute on them; to save face, he has to act as though his trashing of several prior plot threads, including but not limited to Eridan, was the plan all along.

Therefore, this essay will not be putting too much emphasis on Word of God, and will instead be relying on textual evidence from the comic itself, of which there is plenty. So without further ado:

Eridan is a Consummate Murderer.

The reason I'm starting with this point is that, far more than any other, this truth lies at the core of his being. Eridan is formally introduced to us with a murder, and he's haunted by an overpowering genocide complex. He outright describes to Rose at one point that "killin is all i evver done practically," and uses "murder" as an expletive (ie "swweet stinkin murder"). With a conservative estimate of 5 kills per week for 4 sweeps (Vriska looks VERY young when she has to start killing, and Eridan was likely a similar age when he began), both Eridan and Vriska easily have bodycounts above 2000 - the real number is probably even higher.

At this point, many raise an objection that Eridan is only killing lusii, but I believe we need to count his kills as troll murders, for three reasons: first, a dead lusus results in the orphaned troll being culled; second, one has to assume he has had cases of trolls trying to defend their lusii, or coming after him for vengeance; and third - and most importantly - Eridan HIMSELF is thinking about the orphaned trolls.

Compare Feferi: Go Home:

That should keep her happy for a while. At least until she dies.

To Eridan: Go Home:

That should keep her happy for a while. And make a freshly orphaned troll somewhere very sad.

So Eridan, to a much greater extent than even Feferi, is thinking about the orphaned trolls he's leaving behind, and considers his own actions to be murder.

Now that we've established the facts regarding his murders - a rough bodycount, and the fact that, by his own admission, he barely had any hobbies outside of it - we can move on to the effect that it's had on him. It's not very good!

Vriska's manipul8tions and murders had to be done for her own sake - if she ever stopped, she died. Therefore, much of Vriska's personality revolves around justifying her own actions so she doesn't have to reckon with her softer feelings, like guilt or kindness - which she expresses would be viewed as scandalous by others of her caste.

But if Eridan ever stops feeding Gl'bgolyb, everybody dies. The stakes he has riding on his shoulders are, at all times, the fate of all trolls, including all his friends. Given Dualscar's title was "Orphaner," it's implied that killing lusii for Gl'bgolyb has always been a violet blood's duty, and is seen as such by the others, which is why nobody expresses gratitude for his hard work even a single time.

Which brings us to our next point:

Eridan is Crushed by Anxiety.

If Eridan stops killing lusii, everybody - especially his friends, but everybody else, too - dies.

If Eridan ever shows guilt or kindness, he'll be considered "weak" by the standards of highbloods - he shares this with Vriska.

Eridan is expected, by aristocratic tradition, to take on the mantle of his ancestor Dualscar and finish his work. Dualscar met a comedically cringefail end, so this is a massive undertaking.

Before finding out that god tiering is an option - so, for nearly his entire life - Eridan has had to live with the expectation that he will outlive all of his friends. The lowbloods from culling or dying on the battlefield, the highbloods from old age, and Feferi from being killed by the Empress when she gets old enough.

(This is reflected in who he talks to the most - Feferi, who's the only one with a natural lifespan longer than his, Vriska, who's a highblood, Kanaya, who's practically guaranteed to survive into adulthood, and Karkat, whose anonblood allows Eridan to give him the benefit of the doubt.)

Also if he can't land his concupiscent quadrants he'll die from that too, but that seems pretty secondary to the rest of his concerns.

He can't even make friends with the other highbloods, because sea dwellers are expected to hate and antagonize them.

He had a free ticket into adulthood, but would almost certainly be expected to join the army and serve as a commander. That is to say, his fate of performing the role of a vicious, murderous sea dweller seems dreadfully inevitable to him.

NO WONDER he can't stop having emotional breakdowns. NO WONDER his chatlogs swing wildly from relentless self-aggrandizement to traumadumping. NO WONDER he's obsessed with murder and death and genocide.

Doc Scratch calls him a "vengeful boy on the path of nihilism," and it's not hard to see why: Eridan's entire life has been about living up to the role imposed on him by society, sacrificing his own time and sanity for everyone else, which he "nevver got any appreciation for anywway." And all he had to look forward to was more of the same, all his friends dropping dead one by one before him. For Eridan, there has never been any hope.

SGRUB could have been a way out for him, but a combination of his own terrible choices, spurred on by his anxieties, and his teammates' unwillingness to knock some sense into him, meant that he only wound up mired even deeper in his hopelessness.

We all know about how Eridan wouldn't stop killing the angels on his planet, provoking their aggression and turning it into a ball of death. How he was definitely not supposed to be doing this, and how his stubborn insistence on it led to his further ostracization from the rest of the group. The thing is, when we look at his angel-murders from the point of view that Eridan's entire life has been about murdering things or else Something Bad™ happens, it actually starts to become... kind of sad.

KARKAT: BETWEEN A TRIGGERHAPPY PRINCE WITH A GOD WEAPON BLASTING ANYTHING THAT TWITCHED AND A MILLION CRAZED ANGELS HE DELIBERATELY ENRAGED, IT WASN'T WHAT I'D CALL AN IDEAL SOCIAL HUB. KARKAT: IF YOU WERE LONELY WHY DIDN'T YOU VENTURE OUT MORE OFTEN? ERIDAN: wwell i wwoulda but nobody else wwas vvolunteerin to pick up the slack on angel killin duties

Killing the angels is something he feels like his has to do, because his entire life has been about killing things he doesn't want to kill. He's unable to break out of that mindset on his own, and his unpleasant personality has scared off anyone who might want to help. No one on the team tries to understand his thought process on a deeper level, not even Karkat, who just tells him it was an idiotic thing to do without addressing his underlying anxieties at all. Indeed, "nobody understands."

And this is really the root of why I think so many people get the wrong read on Eridan - Eridan is constantly contradicting himself, constantly denying his own feelings, constantly pushing an image that he doesn't actually believe in, and constantly insisting that he's fine with all the horrible shit in his life - that he likes it, even. After all, he can't admit to his guilt for his murders, or how much he doesn't want to watch his friends die, or how scared he is about the future - that'd be weakness!

CC: I can't look after you anymore. CA: I DIDNT EVER NEED ANYONE TO LOOK AFTER ME CA: i was totally fuckin fine my ambitions were noble

You see his contradictory nature with his stated love of history, which he only ever offhandedly mentions - because he's not actually that interested in history, it's just something that's expected of someone of his station. And you see it with his wavy accent, which he himself calls "weird" and drops when he's trying to be emotionally sincere. And you see it with his dumbass outfit, which is very clearly an imitation of Dualscar (with the only exception being the wizard-ass scarf, because wizards are his actual interest. I don't believe he likes fashion. I genuinely believe - and Eridan himself says so - that he basically has no hobbies outside of murder).

Even being proud to be a sea dweller is pretty much an outright lie:

CC: You can't )(ave t)(e sort of affinity for "our kind" t)(at you profess if you've only spent, w)(at... CC: A few days underwater, maybe? IN YOUR W)(OL-E LIF-E!

One that he tells because he's SCARED OF THE OCEAN. Because he knows what lives in the ocean, because he's been feeding it his entire life. I see a lot of people who give Eridan an interest in marine life, and I'm telling you, that's just got no basis in canon. He's fucking TERRIFIED of the sea.

And for that matter, land dweller genocide. Eridan doesn't want to do it. Both Feferi AND his internal narration call him out for not actually wanting to do it. He outright states he wouldn't kill his friends.

CA: wwell CA: im not goin to vvery wwell kill you am i that wwould be fuckin unconscionable CA: wwhat kind of friend wwould i be

But he feels like he HAS to want it, HAS to believe in it, HAS to be talking about it constantly, because that's what's expected from him as a sea dweller, and a sea dweller is ALL that he will get to be. The mutation that puts a violet streak in his hair is damning. It's a fate he feels like he can't escape. Which brings us to:

Eridan is Not Actually Casteist, Well He Is But Not Like That, It's Complicated

Secondary title: Those Are His Emotional Support Slurs, Okay

In the exact same vein (haha) as secretly not wanting all the land dwellers dead, Eridan also genuinely doesn't feel like he's better than lower blood castes. Vriska and Equius obviously put quite a bit of stock into being nobility, and both have acted superior to Karkat for it. Feferi actually revels in her high status, and while she is genuinely well-meaning, she's not as interested in abolishing casteism as she is in changing the meaning of "culling" specifically (the hemocaste, aristocracy, and casteism still very much exist in a Beforus under her rule). Gamzee MIGHT be the only highblood less casteist than Eridan, but then again, as soon as he snaps, he does say a lot of casteist stuff to Equius, although it's unclear how serious he is, and he also proceeds to get really into his weird highblood clown cult.

Meanwhile, Eridan - despite all his slurs and talk of genocide - does not actually try to "pull rank" on a lowblood for being a lower caste than him with a single exception. That exception is Sollux... after he's already shown having entirely caste-neutral opinions on Sollux:

CC: But Sollux finally came t)(roug)(, and now I believe t)(e full c)(ain is complete! CA: man that guy CA: hes a fuckin drama machine it is fuckin pathetic CC: YOUR STUPID FIS)(Y FAC-E IS T)(-E DRAMA MAC)(IN-E T)(AT DO-ES NOT)(ING BUT W)(IN-E AND GLUB. CC: 38P CA: fuck SORRY CC: Anyway you s)(ouldn't say t)(at about )(im, )(e is a )(ero and )(e saved my life. CA: yeah sorry

CA: my feelins seem petty and meaninless noww CA: she had better things to wworry about than my ovverwwrought bullshit CA: like the dead guy wwho savved her CA: so forget it thanks anywway

It's only AFTER he's mad at Sollux for dating Feferi that he starts going in on Sollux with casteist rhetoric... which is treated as unrequited flirting and not serious casteism:

ERIDAN: hey finless this doesnt concern those wwith mustard sludge slippin through their vveins ERIDAN: its a matter for royalty only ERIDAN: so keep your mouth closed or ill slit you open ovver my next meal SOLLUX: w/e bro, not iintere2ted. FEFERI: -Eridan, please! I don't want to see any more dueling. FEFERI: Don't try to provoke )(im. It's not like I don't know w)(at you're doing! You keep trying to spark a rivalry wit)( )(im to get me to auspisticize between you two, and pull us out of our quadrant! FEFERI: It is t)(e oldest and lamest trick in t)(e book. It didn't work t)(en and it won't work now!

THEY don't even think he's being casteist.

In fact, directly contradicting this earlier argument he has with Feferi:

CC: T)(is is t)(e last time I will say t)(is. CC: W-E AR-E NOT B-ETT-ER T)(AN ANYBODY!!!!! CC: GLUB. >38( CA: pshh CA: hemospectrum begs to differ

He OUTRIGHT states his real feelings here:

CA: im the biggest fuckin idiot who ever lived CA: i cant BELIEVE i just opened up to you like a chump when i knew what was comin CA: i am one sad fuckin brinesucker CA: overemotional sappy trash youre right im not better than anybody CA: im worse than anybody CA: EVERYBODY CA: all the bodies

So the question of "is Eridan casteist" has an answer of "kind of, but also no." Eridan DOES espouse the rhetoric; he's constantly saying stuff that a casteist sea dweller "should" be saying. However, if you look at his ACTIONS, and the way he actually treats people, he doesn't actually care about blood color. He'll hit on anybody, and he's rude as fuck to everybody. The real problem with him is that he's terrible to talk to, not that he's discriminatory.

That's the thing about Eridan. Understanding him means looking past the way he presents himself, the lies he tells to himself, and even, at times, the way the narration presents him. His "overblown emotional theatrics" seem a lot less overblown when his problems ARE so real, deep-seated, and constantly causing him an unimaginable amount of anguish.

The problem is, the main people he has to bounce those problems against are Feferi, Vriska, and Kanaya, three of the people most comfortable with their privileged positions, for whom Eridan's genuine emotional distress seems like needless melodrama. Feferi loves being a princess, Vriska enjoys her noble privileges, Kanaya doesn't need to worry about culling. But for Eridan, his noble status, and the duties and expectations placed on him for it, have caused him nothing but pain - of course he would feel like nobody understands. Most of his closest friends genuinely don't, nor do they try to.

Because that's what he is at his core - a traumatized fucking child, who doesn't see any way out. Eridan is not a casteist genocidal sea dweller... he just wishes he was one, and tries to be one, because if he actually was one, he wouldn't feel so awful and scared and sad all the time. He'd be normal, like his friends.

The reason he constantly spouts anti-land dweller rhetoric and uses casteist language is to assuage this cognitive dissonance. That's why he has to come off so strong, present himself in such an aggrandized way, act like such a douchebag. They're his emotional support slurs. He doesn't actually believe what he says, which means he's a Bad Sea Dweller, which means he's Failing, which means Something Bad Will Happen, so he'd better get his ass in line and say something casteist!

And it's all made worse because:

Eridan is Dumb of Ass (and True of Word)

Oh my god you guys he's so stupid that it hurts.

Okay, that's not entirely fair. Eridan is clearly well-educated and book smart; he has some of the most elegant prose out of the trolls, and he's prone to going off on insane rants with it. (Actually, his language gets more flowery and showy when he's trying to impress a stranger, and gets progressively more laid back, chill, and even kind of "bro"-y when he starts talking to people he doesn't feel like he needs to impress.)

CA: at this point i find all her adorable black pixie dabblins to be prime kiddie playtime shit CA: all of her FRAUDULENT MAGICS cannot come close to posin threat to my mastery ovver the TRUEST SCIENCES CA: an wwith my empiricists wwand i servve as the righteous hope that wwill incinerate delusion and the deluded alike CA: my holy fire is the wwhite fury bled from the wwrath-wweary eyes of fifty thousand nonfictional angels CA: and wwhen theyre finished wweepin they wwill boww before their prince GG: wow what are you talking about

What I mean is this: his brain is so full of anxiety and cognitive dissonance and murder and death that he struggles to care about other people, which has devastating effects on his social skills. I go really in-depth on how his though process informs his behavior here. The question may have popped up in your mind already: if his casteism stuff isn't actually real, then what is Eridan actually like? The answer is, overwhelmingly, and discomfortingly, SINCERE.

This boy is gunning at 100% emotional earnestness 100% of the time, and it's deeply uncomfortable for others to deal with. He'll swing wildly from insults and derogatory language, to stating a desire to kill all land dwellers, to awe and amazement at his friends' prowess, to demanding that they do things for him, to traumadumping and venting, without missing a beat. Often in the same conversation.

CA: kan its hard GA: What CA: being a kid and growwing up CA: its hard and nobody understands

He's also specifically terrible at parsing hostility. Functionally, he interprets all hostility aimed AT him as either pitch/ashen flirting or "ironic repartee," and similarly views his own hostile words as verbal jousting, pitch/ashen advances, or even just factual descriptions of the world around him (ie calling Nepeta a "kittycat shipper cavve girl"). Hostility and aggression are just kind of his baseline, default state of being, and he basically has no ability to differentiate between good and bad attention. I talk more in-depth about his emotionally bereft upbringing (and shitty lusus) here, but suffice to say that our boy isn't getting any emotional support at home, and as a result, craves attention, no matter what kind.

This also means he's insanely gullible. For example, Rose calls him an idiot to his face, and then blows up his computer, sarcastically calling it "your first lesson in showmanship." Eridan proceeds to literally considers it that, blowing up Jade's computer after he's done talking to her. Furthermore, Kanaya sees him as a burden, insults him to his face, and pretty much just bullies him along with Rose for fun.

So she trains Eridan to become a powerful white wizard of hope to challenge her, as a joke.

And yet, in spite of all that, Eridan still has nothing but gratitude and praise for Kanaya:

ERIDAN: kan i been meanin to thank you KANAYA: For What ERIDAN: for all that trainin you did ERIDAN: i wwouldnt be the incredible holy wwizard i am noww wwithout your help KANAYA: But I Didnt Even Really Train You I Just Made You A Wand ERIDAN: yeah wwell thats all i needed i guess ERIDAN: i just needed for someone to showw a little faith in me so im sayin thanks i owwe ya KANAYA: Okay Then Youre Welcome KANAYA: I Hope You Use Your Magnificent Powers Of Light And Hope For Goodness And Purity And Lets Not Forget Science ERIDAN: dont wworry im all ovver that shit you dont evven knoww KANAYA: Uh Oh I Hope That Didnt Come Off As Too Sarcastic ERIDAN: wwhat KANAYA: The Thing I Just Said KANAYA: I Didnt Even Realize How Sarcastic I Was Being Its Starting To Become A Problem I Think KANAYA: Please Dont Take Too Much Offense ERIDAN: haha damn kan if thats your idea of offense bein made then i honestly gotta fuckin wworry for you ERIDAN: tell you wwhat ill givve you some lessons in dealin out the dark umbrage to repay you for your tutelage in the wwhite science

Like, he's in the middle of genuinely thanking her for believing in him, she makes fun of him to his face, and his response is to laugh it off and offer to teach her how to properly insult someone. It's honestly... kind of sad. Not that he doesn't deserve the ridicule, but what we're seeing here is a traumatized, emotionally neglected boy trying to communicate the best that he can that he loves and appreciates his friends, and receiving nothing but mockery in return.

It's really not a surprise, then, that he goes off the deep end. His entire life prior to the game has been shit; he got broken up with as soon as he entered the game (by someone who didn't even care enough not to use fish puns while doing it); he's ostracized and avoided for the game's duration; and then he spends the rest of his time on the meteor being bullied. He feels deeply hopeless and anxious about their situation because he literally doesn't know how else to exist, and his concerns are dismissed and mocked at every turn. When Feferi turns on him with intent to kill, that's his breaking point.

I see a lot of people say he goes grimdark, or succumbs to external influence somehow, but I don't think that needs to be true (nor is it) - he's just a deeply traumatized kid with almost no support network who's finally been pushed to the edge, despite displaying every possible warning sign and making multiple cries for help. Yes, ultimately, he's guilty for his own actions, but his killing spree - alongside Gamzee's and Vriska's - represents a cohesive failure as a team to address very clear problems in their midst.

So Feferi and Kanaya are sick of his ass. Sollux hates him platonically, Equius doesn't like him, and Nepeta thinks of him as a creep. Vriska is his awkward ex, and Terezi agrees with him when he calls himself pathetic. He never interacts with Tavros, Aradia, or sober!Gamzee. Is there anyone that treats him nicely?

Uh, okay, so I swear this isn't shipping goggles -

Pale EriKar Is Canon And I Can Prove It

So, I'm going to start this with a disclaimer: you can ship what you want to ship. I don't mind. I don't care. Headcanons are valid, death of the author, etc. What you do in your free time is up to you.

What I am attempting to argue in this section is that an Eridan/Karkat moirallegiance was heavily foreshadowed, one of the most heavily foreshadowed things in the entire comic, and - assuming that the original ending of Homestuck included all the dead trolls being brought back and redeemed - was going to be endgame. There's a torrential amount of evidence pointing to this, and very little of it is acknowledged even by the EriKar shippers, which is a shame.

At the very least, I'll be happy if I can convince some Karkat RPers to be extra nice to Eridans, because they are actually just friends who care deeply about each other. Canonically.

The first thing to note is that Eridan and Karkat, at least prior to SGRUB, talk all the time, to the point where Feferi feels the need to comment on it:

CC: You know, I'm not sure w)(y we never talk about our romantic aspirations. CC: We s)(ould more often. It is kind of -EXCITING! CA: shrug CC: Probably because you fill your gossip quota wit)( your nubby )(orned bro. CC: You leave not)(ing left to talk about wit)( your dear sweet moirail! CC: We are supposed to )(elp eac)( ot)(er wit)( t)(at stuff too, remember. CA: maybe CA: seems kinda CA: odd though

("Can you please stop having an emotional affair with Karkat" "Eh, I'll think about it")

The second thing to note is what the contents of those conversations entail. Sure, they "gossip," but it goes deeper than that, because they gossip about things that Karkat would NEVER gossip about with anybody else, because Karkat usually respects his "VERY GOOD FRIEND"s. For example, here Eridan mentions that Karkat has speculated on Kanaya's love life with him:

CA: you dont wwant to be our auspistice cause you dont wwant to get locked into that sort of relation wwith her i can respect that GA: No Thats Not It CA: yeah it is your real feelins run pretty awwful RUDDY methinks evverybody knowws it CA: especially that assblood karkat he and me havve you so pegged about that its upright silly

And it's not even a one-off thing, because here Karkat is again, mentioning Nepeta's crush on him:

KARKAT: OK, BUT TO BE FAIR, I'M PRETTY SURE SHE'S STILL OBSESSED WITH ME. KARKAT: IT'S A VERY UNFORTUNATE, VERY RED AND VERY UNREQUITED SITUATION I'VE BEEN TRYING TO TIPTOE AROUND FOR A LONG TIME, OK? KARKAT: HER DISINTEREST IN YOUR ADVANCE WASN'T A REFLECTION ON YOU AT ALL. KARKAT: COME ON, WE TALKED ABOUT THIS.

It's a situation he's been trying to "tiptoe around for a long time," and he tells ERIDAN, of all people? MULTIPLE TIMES? (AND HE ALSO TELLS ERIDAN THAT THE REJECTION WASN'T HIS FAULT???? WHAT??????)

So we've established that they talk frequently and about some pretty seriously sensitive topics. But did you know that they also talk about... their feelings?

See, the thing is, Karkat has always been weirdly nice to Eridan. Here he is in a memo near the very beginning of their game, when Karkat is at his most "rah rah, I'm the big bad leader":

FCA: i got a problem FCA: wwith feferi FCA: and im really kinda sittin here in bad shape about it emotionally speakin CCG: OK, WELL CCG: I GET THAT, I HEAR YOU BRO CCG: BUT THIS IS STILL NOT THE RIGHT PLACE FOR THIS SO I'VE GOT TO BAN YOU. CCG banned FCA from responding to memo. CCG: BUT SERIOUSLY JUST GET IN TOUCH WITH ME IN PRIVATE ABOUT IT, OK MAN? CCG: WE'LL GET YOUR SHIT STRAIGHTENED OUT.

Compare that to Tavros asking for advice later down in the same memo:

PAT: sINCE i DON'T KNOW WHERE YOU ARE NOW, bUT MAYBE HELP ME, PAT: aBOUT A THING THAT HAS TO DO WITH A GIRL, PAT: lIKE, PAT: a ROMANCE THING, yOU MIGHT KNOW ABOUT, CCG: YOU PEOPLE ARE IMBECILES. CCG: ALL OF YOU. CCG: I AM NOT POSTING THESE MEMOS TO COUNSEL YOU ON YOUR PAST AND FUTURE DATING PROBLEMS!!!!!!!!!!!!!!!!! CCG: WHY ARE YOU ALL SUCH BASKET CASES. I DON'T EVEN KNOW WHAT TO SAY ANYMORE. PAT: sORRY, CCG: SHOULD I BAN YOU? WHAT'S EVEN THE POINT ANYMORE! ONE OF YOU STOOGES WILL BE RIGHT ON THE LAST ONES HEELS WITH ANOTHER SOB STORY. CCG: JUST CCG: HURRY UP AND TELL ME WHAT YOUR PROBLEM IS BRO.

He then proceeds to dispense no actual love advice; he just points out that Vriska can totally read this memo too, and then mocks them both when she shows up - thus making it clear that he is giving Eridan special treatment.

You see it again in his discussion with Eridan in [S] Kanaya: Return to the Core, where Eridan invokes a "pact" between them, and Karkat immediately plays nice with him, despite himself being extremely high-strung and stressed out:

KARKAT: RIGHT, IT'S POWERED BY SCIENCE, I FORGOT. KARKAT: OR HOPE. WHATEVER THE FUCK THAT MEANS. ERIDAN: i dont fuckin need this from you i take enough shit as it is from the rest a you dirtscrapers i thought you and me had a kinda pact or wwhatevver KARKAT: OK FINE, SHUT UP, I APOLOGIZE. I KNOW IT'S TOUGH BEING YOU.

That's definitely pity, which Karkat states to be the basis of all relationships besides pitch. But, sure, okay, Karkat is sometimes nice to his friends. He is, after all, the Friendship Troll, so that's not necessarily out of the ordinary. But how about the fact that it goes both ways?

That's right, Eridan "100% aggro 100% of the time" Ampora is actually really considerate toward Karkat's feelings, and basically nobody else's. Upon hearing that Karkat is distressed that Sollux has died, Eridan actively puts his own meltdown about his breakup with Feferi on pause:

TC: BeCaUsE OuR GoOd bRo sOlLuX JuSt kIcKeD ThE WiCkEd mOtHeRfUcKiN ShIt CA: wwhat the fuck do you mean by that CA: are you sayin hes dead TC: YeAh :o( CA: oh fuck CA: oh god fuck noww i feel like an asshole

He then goes on to chastise Gamzee for his shitty advice, demanding to be given the chance to comfort Karkat himself instead:

TC: BuT I ToLd hIm tO Be cHiLl TC: BeCaUsE ThErE Is a mIrAcLe cOmInG, i cAn fEeL It CA: that is the wworst fuckin advvice CA: wwhat an awwful thing a you to say CA: MAGIC ISNT REAL STUPID STOP BELIEVVIN IN IT TC: i'Ve gOt tO BeLiEvE At wHaT My hEaRt tElLs iN Me, EvEn iF It's a fAkE ThInG TC: HoNk CA: this is a lot a pointless fuckin rubbish and isnt no emotional help to him or me either for that matter CA: put kar on

Before finally giving up when Gamzee insists he's "too scared of Jack" to help, drinking some Faygo, and trying to ask past Karkat for help, because past Karkat isn't sad yet about Sollux dying. So, to recap,

Eridan's first instinct when in emotional duress is to go to Karkat.

Eridan feels like he knows Karkat well enough to know that Gamzee's advice would be useless (and is proven right by the fact that Gamzee and Karkat's moirallegiance fails for similar reasons).

Eridan is willing to shelve his own emotional meltdown for Karkat's sake.

Eridan demands to be the one to provide Karkat with emotional support.

And this is, again, not a one-off thing. In the memo Karkat opens right after Eridan and Gamzee have both turned murderous, after he's spent several minutes making death threats toward Eridan and insulting him directly, he goes:

CCG: I'M SO UPSET, I'M JUST COMPLETELY FREAKING OUT IN EVERY WAY POSSIBLE. PCA: yeah i knoww wwhat its like you wwanna talk about it

Eridan spends this entire memo under the belief that it's a completely run-of-the-mill conversation they're having:

PCA: i mean yeah obvviously i kneww you wwerent serious PCA: i guess i appreciate the effort youre puttin into cheerin me up PCA: i can alwways count on you for some good ironic repartee kar nobody else really gets our sense a humor CCG: UGH, NO PCA: are you busy PCA: you said youd try to make it to lowwaa soon wwell howw about it

Which implies that offering to listen to Karkat's feelings is also a completely regular thing for them.

But something magical is ALSO happening within this last memo, and to really explain it, I'll first have to be a little mean to the GamKar shippers (sorry).

So, canonically, GamKar doesn't work out for them, despite also being somewhat foreshadowed. In fact, they feature on Nepeta's shipping wall, which is actually, in my opinion, foreshadowing that it WOULDN'T work out. (Nepeta's ships being wrong, and shipping being something she needs to learn to outgrow, is a whole essay on its own, that I'm not getting into here.)

But the thing is, the seeds for them not working out were also planted in the first - and only - real post-moirallegiance interaction that they have with each other, where Gamzee tries to calm Karkat down... and FAILS:

GAMZEE: naw brother, i was just about to all say for you to try and get your settle down on, maybe. GAMZEE: :o( ... KARKAT: OK KARKAT: OK YEAH KARKAT: I GUESS YOU'RE RIGHT. KARKAT: NO, YOU'RE RIGHT, I SHOULD RELAX. KARKAT: AND BREATHE. KARKAT: I MEAN, WHAT ARE MOIRAILS FOR, RIGHT? KARKAT: THIS IS HOW IT WORKS, I STOP YOU FROM KILLING EVERYBODY, THEN YOU RETURN THE FAVOR AND CALM ME DOWN AND I JUST KARKAT: BREATHE KARKAT: LIKE KARKAT: THIS... KARKAT: SNIIIIIIIIIIIIFFFFFFFFFFFFFUCK, THAT SUN IS BRIGHT. KARKAT: CALL ME CRAZY, BUT IT'S KIND OF HARD TO RELAX WITHIN A STONE'S THROW FROM, OH, I GUESS ONLY THE BIGGEST FUCKING STAR ANY MORTAL HAS EVER LAID EYES ON. ... KARKAT: BUT I MEAN, CAN THIS BE HEALTHY? KARKAT: AREN'T WE GOING TO GET BURNED OR HAVE OUR RETINAS SCORCHED BY LOOKING AT IT? KARKAT: OH GOD I THINK I'M HAVING A PANIC ATTACK.

But let's go back to that memo where Karkat is freaking out in every way possible. This is how he starts that memo - so upset about the deaths of his friends and terrified by Gamzee that he can barely string together a coherent thought:

CCG: WE ARE SO SCREWED. CCG: OH FUCK OH FUCK OH FUCK. CCG: GUYS, I AM TERRIFIED, I DON'T KNOW WHAT TO DO. CCG: I'M IN A ROOM FULL OF BODIES, AND I THINK I'M NOT SUPPOSED TO TURN MY BACK ON THEM? CCG: OH MY GOD, I JUST HEARD A HONK. ... CCG: FEFERI, I'M SORRY. CCG: IT WAS MY FAULT, I DIDN'T KNOW WHAT TO DO. PCC: Sorry for w)(at?? CCG: FOR CCG: I CCG: I CAN'T DO THIS CCG: IT'S TOO MUCH FOR ME, I'M SORRY.

In fact, he's so distressed that he bans Past!Feferi and Past!Gamzee almost immediately after they come in. But then Eridan comes in, and... I mean, first of all, just compare how long it takes for him to ban Eridan:

But more interesting are the contents of their conversation. Over the course of talking to Eridan... Karkat completely calms the fuck down. Like he's entirely forgotten that he's shitting his pants with fear. In fact, he even starts critiquing Eridan for his dumbassery:

PCA: evven if i wwasnt compelled to think you wwere still bein flippant and ironic wwith me you cant exactly outright reject me can you CCG: WHY NOT PCA: cause youre future you PCA: doesnt count unless its present you til then its all fair game CCG: IS THIS REAL, ARE YOU BEING IRONIC OR SOMETHING, I CAN'T EVEN TELL ANYMORE CCG: THE PROBLEM IS, I CAN'T PUT THIS SORT OF BEHAVIOR PAST YOU AT ALL, SO I DON'T KNOW. ... CCG: YOU'RE KILLING ANGELS NOW, AREN'T YOU PCA: no CCG: YOU ARE KILLING FUCKING ANGELS, RIGHT NOW, IN THE PAST, WITH YOUR SHITTY GUN. I JUST KNOW IT. PCA: wwell uh PCA: therere just so damn many kar and theyre not gettin any less bloody pissed is the thing CCG: THIS IS WHY IT WOULD NEVER WORK BETWEEN US, MAN.

It's extremely funny. Over the course of talking to Eridan, he goes from:

CCG: OH GOD OH GOD OH MAN OH GOD CCG: NO NO NO NO NO NO NO NO NO

To:

CCG banned PCA from responding to memo. CCG: ANYWAY CCG: THAT'S IT I GUESS.

Eridan isn't even trying to calm Karkat down. He still succeeds in doing so. This is because they are soul mates. And I mean that in the sense that the comic literally calls being moirails soul mates, which it doesn't do for the other quadrants:

A reasonable human translation would be the concept of a soul mate, but in a more platonic sense, and with a more specific social purpose.

That "social purpose" being that an even-tempered troll calms down a more hot-tempered one, and vice versa.

It also goes on to note:

But some pale pairings, as the one above [referring to a picture of Nepeta and Equius], will be strikingly obvious to all who know them.

But what's really interesting is the next page.

And yet others will seem to have been hatched for each other.

Did you catch that? Let me zoom in.

(Also, the blue and red cuttlefish to represent Sollux - Feferi and Sollux spend the whole game together, and even wind up talking about their feelings constantly in a pile - more on piles in a sec.)

In fact... in Eridan's first visual appearance...

The crab has always been there for him.

It's also important to talk about the bottle of Faygo that's been photoshopped to be candy red, Karkat's blood color. The path that it takes actually directly mirrors Karkat's relationships with Gamzee and Eridan - it's initially something that Gamzee has, but winds up being ejected out of his life, and washes up on Eridan's shore. In fact:

TC: SnAtCh aN IcEcOlD, dOg TC: MoThErFuCkIn cHuG ThAt sHiT LiKe yOu aNd tHe bOtTlE WaS ReUnItEd lOvErS CA: are you recommendin a bevverage to me or somethin CA: is that wwhat this is TC: YeAh mAn SlAm A FaYgO CA: i dont havve a fuckin faygo you stupid fuck wwhy wwould i keep that disgusting shit on hand TC: ArE YoU MoThErFuCkIn sUrE AbOuT ThAt? CA: oh CA: oh god youre right i do CA: i totally forgot about it TC: YoU SeE MaN TC: MoThEr TC: FuCkIn TC: MiRaClEs TC: :o)

When Gamzee and Eridan discuss this exact bottle, Gamzee even likens it to "reunited lovers"; it's something that Eridan has had this whole time (after all, he was cheating on Feferi with the guy), but never realized.

There are a few miscellaneous things that don't really mean anything on their own, but put next to all this other stuff, is worth considering, so I'll list those now.

First, they both do the bonk:

Second:

CG: ARE WE NOT FRIENDS ANYMORE BECAUSE OF STUFF I SAID. TA: eheheheh you LIITERALLY a2k me that every tiime are you jokiing. TA: ii cant even tell anymore. CG: IT'S A JOKE MORON. CG: HONESTLY I'M JUST GLAD NOBODY ELSE IS PRIVVY TO OUR CONVERSATIONS.

Third, Karkat muses to his future self about how he misses his friends, especially the assholes, two pages before staring at a dead Eridan's ass (joking, he's definitely looking at WV, but it's still significant that this thought is being associated with Eridan):

CCG: I MEAN, DON'T GET ME WRONG. CCG: I MISS ALL OF MY DEAD FRIENDS A LOT. CCG: EVEN THE ASSHOLES! I MISS THEM TOO. MAYBE EVEN ESPECIALLY THEM, IN SOME PERVERSE WAY. CCG: AND I SHOULD BE RELIEVED THAT THEY ALL SEEM TO BE HAPPY IN SOME WAY, EVEN IF IT'S BY FLOATING NEBULOUSLY THROUGH DREAM PROJECTIONS WITH THEIR FREAKY BLANK EYES. CCG: AND I GUESS I AM RELIEVED ABOUT THAT. CCG: BUT AT THE SAME TIME IT'S LEFT ME UNSETTLED.

Fourth, in the same conversation, he bemoans his failed relationship with Terezi, before Future!Karkat chastises Past!Karkat for his instability and mixed signals. Going back to the page on moirallegiances, an explicit function of a proper pale relationship is stabilizing a troll's other relationships:

The two partners in a strong pale relationship will serve to balance and complement each other's emotional profiles, and thus allow their other relationships to be more successful.

Of course, I don't need to tell you how messy and unstable Eridan's relationships have been.

And finally, Piles of Stuff™ are associated with moirails, and directly stated in-comic to cause an outpouring of emotion:

Standing near this pile stirs powerful emotions. The closer you stand to piles of stuff, the more freely the feelings flow. It is a law of reality.

So here's a seven-word tragedy for you: For Sale, Shitty Wand Pile, Never Used:

ERIDAN: at least i got the upright basic decency to hide my shitty wand pile somewwhere in the lab you wwont find it dont evven bother lookin KARKAT: WHY DO YOU ASSHOLES HAVE PILES OF THINGS, JUST STOP.

(Which he specifically tells Karkat about.)

So, yeah, what I'm saying is, there's just, like, a weirdly large amount to read into here. That Karkat and Eridan are probably soulmates or whatever. And that this is important because...

Eridan Is Plot Relevant (Well All The Dead Trolls Are But This Is An Essay About Eridan)

So. Now we are going to talk about themes. Yes, like we are in schoolfeeding again. I'm going to keep it simple, because "The Themes of Homestuck" is a whole essay on its own, and this one about just the shitty fish boy is already way too long.

I think it's fairly non-controversial to posit that the main theme of Homestuck is, "children should mature, care about each other, and throw off the shackles of their old society, because they will be responsible for a new world one day."

Up until Game Over/the Retcon, this is so prevalent and well-established that SBURB/SGRUB's coming-of-age themes will outright be commented upon by the characters, and the main villain is a child who deliberately stunted his own growth so he could go around kicking over other peoples' toys forevermore.

So, the thing is, with that being the theme of Homestuck, if ALL of the Alternian trolls don't survive to the end, the ending is thematically unsatisfying, because the message suddenly gains an addendum of "well, some kids just need to die," which totally sucks. Like, sure, Eridan was a violent, crazed murderer even at the best of times, but his permanent death within the canon ending kind of means that the comic is saying that people in his position don't deserve kindness or second chances. That position being a traumatized, emotionally neglected child, who was being bullied by people he considered his friends. It's a pretty terrible message.

It's even worse when you consider what other trolls don't make it to the end - Nepeta, the most outspoken troll against the hemospectrum (and Davepeta does NOT count, don't try to tell me the final culmination of Nepeta's character arc is being combined with some guy she barely knows and a bird). Feferi, who genuinely wanted the best for others, even if she was kind of a privileged princess. Aradia and Sollux also stay behind in the bubbles, even though their lives have pretty much been endless parades of suffering and being used by other people. Even Equius doesn't deserve it - he was kind of a casteist freak, but not irredeemably so, and the fact that he became kinder to Karkat over the course of SGRUB proved that he had the capacity to change. And Tavros, allergic to himself and being insulted by Vriska, is a terrible way to end his arc.

It's also really clear that, since half his friends are dead, Karkat just doesn't really have anything to do. His title is the Knight of Blood, and Blood is about bonds - romance, friendship. And yet, he ends the comic having never figured out what Blood was about, with no confirmed filled quadrants (sorry DaveKat likers, but within the comic itself, DaveKat is never confirmed), and most of his bonds nothing more than ghosts in the bubbles. It's a terribly unsatisfying ending for the most narratively important troll.

I think, then, that even if you don't agree that Homestuck should have ended with full revivals and redemption arcs for all the trolls, the essay is going to proceed on like you do, so, sorry, I guess.

The thing with Eridan, specifically, is that he's actually tied deeply into the plot and themes, and his return means more than just Karkat finally getting a date (although that's important, too). Eridan is directly intertwined with a prophecy to kill Lord English; he's set up to mirror Caliborn and Calliope; and thematically, his redemption would be the most clear instance of the "interrogating society" part of the theme of Homestuck, because Eridan is kind of the Society Troll. And also, he was definitely supposed to be Roxy's wizard boyfriend.

Just gonna get that last one out of the way real quick because it's a fast one, Roxy fucking loves wizards and is a hipster. Eridan is a wizard and is also a hipster. Roxy has a crush on a prince. Eridan is also a prince. Roxy wears a purple striped scarf. Eridan wears a blue striped scarf. Roxy uses rifles. Eridan uses rifles. Momlonde's introduction includes a passive-aggressive fridge battle that features a cameo of Eridan's quirk.

Using the colorful MAGNET LETTERS, you recently left a succinct message, which may or may not have been directed toward anyone in particular. But you couldn't find the letter W, so you just stuck two V's together. Your mother then purchased a fresh pack of W's and left them there for your convenience.

Yeah. So. Uh. Not only did Eridan need to be brought back to date Karkat pale, but he also needed to be brought back to date Roxy flushed. Can you imagine how funny it would be. They'd get together within 5 minutes of meeting for the first time and Rose would lose her shit. Anyway.

Him being a parallel to Calliope and Caliborn is also a quick one - Caliborn uses Riflekind/Sceptrekind, and Calliope uses Pistolkind/Wandkind. Eridan's two weapons are rifles and wands. Lord English is described as an evil wizard and at one point is shown using Calliope's wand. Eridan is also an evil wizard who uses a wand.

Look, I'm not saying that Eridan is necessarily directly related to these two, nor am I even necessarily saying that he and Roxy HAVE to date, but I am saying that he's got Weird Plot Connections that make him bizarrely relevant to characters that only come into play well after his death - almost like the comic was setting up that he would be coming back. His reaction to Cronus supports this, which I go into detail about here.

There's other strange "Eridan's plot important" things, too - like the fact that he's completely unimpressed by Faygo, considering it to be "just soda," and seems to be the only non-cultist who's okay with it. Or the fact that he's actually been awake on Derse since before the game (but unable to hear the horrorterrors, maybe foreshadowing some psychic resistance?) which he casually reveals to Kanaya and which Terezi is aware of, hence he's included in the people she names are "in" on the existence of the game. Or the fact that the genetic code for Alternia's first guardian was written within the pages of four FLARP books, with the addition of a fifth code Gamzee wrote in Karkat's ~ATH book... but Eridan was the fifth FLARP player in the team, implying that Doc Scratch/LE influencing Gamzee caused him to usurp Eridan's part of the first guardian code, giving LE his way into the trolls' universe.

Individually, it's all kind of nothing, but it just paints a bigger picture of Eridan being weirdly relevant, especially when we get to the juicy stuff:

The Prophecy

ARANEA: The 8ard of Hope may seem a little jaded these days, 8ut he once had a deeply a8iding faith in magic, and dedicated himself to 8ecoming a great wizard. He 8ecame convinced he was hatched to defeat an extraordinarily evil magician, one he swore the angels foretold of. ... [T]his magician once somehow from afar tried to strike him down at a young age, so he would never have to face him. 8ut the evil spell was deflected, sealing the magician's spirit away in a series of unassuming vessels until he could find some other cunning way to enter our universe. ... ARANEA: 8ut at some point he 8ecame disillusioned with magic. If there ever was any truth to his far fetched vision, the legacy of defeating the evil magician would have to 8e passed on to his descendant, or if his descendant proved to 8e as much of a failure as he did, then perhaps on to some other Hero of Hope.

ERIDAN: i slaughtered enough angels to knoww my limits and wwhere i stand against the lord of all angels they prophecized

GG: im pretty sure hes from the future! CA: wwhy GG: because he said hes my grandson CA: wwhat the fuck is a grandson CA: is that some kind of pervverse human familial thing GG: umm yes ... CA: that gun i just gavve you is somethin of a hatchright to the kid CA: happy i could play a role in your dirty stinkin lineage GG: like an heirloom? i guess it could be ... CA: i kinda think thats wwhy i found the gun in the first place CA: but noww im forsakin it because fuck i just found a better destiny than my old crappy one wwhich i nevver got any appreciation for anywway

Jake is supposed to have been the one to defeat Lord English. (No, Jake defeating pre-LE Caliborn right before he gets sealed into Cal doesn't count! He doesn't even get the final blow in that fight, DIRK does.)

But Eridan at one point had that destiny on his shoulders. Aranea turbohealing Jake, and the resultant hope field, summons a bunch of angels, which are heavily associated with Eridan - yet another random connection that Eridan has with future plot events.

Jake was another character, alongside Karkat, who was kind of reduced to a joke by the end, despite the fact that he had literally, directly, been passed the destiny of defeating Lord English. It's hard not to see this as a consequence, at least in part, of removing Eridan from the story. By cutting him out of the fabric of the ending, several plot threads - including this prophecy - are left dangling in irrelevance. And so Jake, like Karkat, now has nothing to do.

Homestuck is generally a series where every prophecy does come true, which makes it kind of startling when several prophecies fail to - Feferi's to "unite the two races," Jake's to defeat Lord English, and Karkat's to bring "compassion, forgiveness, and equality among all bloodlines" in the Signless's place.

That last one is actually relevant to:

The Thematic Importance of EriKar As Soul Mates

Eridan represents the worst aspects of Alternian society. He's a sea dweller at the top of the caste structure, with free reign to murder whoever he wants, soaked in the blood of thousands of innocent trolls. He espouses the casteist rhetoric that their society is built on, calling for the deaths of all land dwellers and the oppression of the lower castes. And while he should be benefitting from his position of privilege, it has also done nothing but hurt him.

Karkat, meanwhile, is a pariah. A mutant who would've been culled on sight, who spent his entire life living in hiding, and most of the game in fear that he would be ostracized or worse by the rest of his friends if they found out about his blood color. He's also the second coming of Troll Jesus, and thus, more despised by the Alternian ruling class than a mutant normally would be. For most of his life, he dreamed of nothing more than finding belonging within the society that had deemed him unfit.

Their friendship is something that "should not be." The highblood and the mutant. The royal-v and the off-spectrum. The empress's sea dweller and the second coming of the signless. Eridan "should" see Karkat as a miscreant to cull on sight. Karkat "should" be terrified of Eridan's very existence.

But in reality, Eridan doesn't give a shit about blood color, and Karkat just wants to be accepted. Eridan just wants someone to care about him, and Karkat loves his friends. Aside from Feferi, Eridan is the only highblood who never comments about Karkat's mutant blood, and they were best buddies even before Eridan knew.

Eridan and Karkat getting together isn't JUST the two most undateable trolls on the team finally landing a stable quadrant. These two, moreso than any other pairing, represent the themes of Homestuck. Children growing up, caring about each other, and throwing off the shackles of their old society.

In the pre-retcon timeline, their team failed to do so. This led to Gamzee falling into his highblood clown cult, Equius letting himself and Nepeta die by submitting to his place in the hemospectrum, Vriska killing Tavros because she couldn't allow herself to show weakness, and Eridan completing his caste's dream of genocide. Karkat spent the entire meteor trip and beyond beating himself up about it, since he considered it all to be his fault.

But with the introduction of John's retcon powers, they have the chance to, one by one, redeem themselves. I believe that's how the original ending would have gone: Terezi would ask John to bring Vriska back, because she only feels comfortable fixing her own mistakes. Vriska would then have asked John to bring back Tavros, whom she regretted killing. Tavros would be there for Gamzee, rendering him an ally. Gamzee would ask John to bring back Equius and Nepeta. Equius would ask John to help him not make the same mistakes with Aradia, and Aradiabot would catch John by the wrist and demand he bring her back in time to before she died, allowing her to circumvent her own death and Sollux's guilt. Sollux would ask John to keep him from provoking Eridan, saving Feferi. And Feferi would be pretty ok with the way things were... but KARKAT would then pull John aside, and drop an entire book of mistakes he made on John's lap, and this would result in a finalized timeline where all his friends are alive and god-tiered.

Because all the trolls SHOULD have survived.

Vriska should've survived because people should be allowed to have second chances.

Tavros should've survived because caring about each other, and being willing to show kindness and mercy, are good things.

Gamzee should have survived because people mired in religious fundamentalism and cults deserve to be offered a helping hand.

Equius should've survived because people should be allowed to grow and change their beliefs.

Nepeta should've survived because she was the anti-casteism troll. Casteism is bad, folks! Not only that, but I'm convinced that she was originally going to give the Ultimate Self exposition, and Davepetasprite^2 had to be contrived in the canon ending in order to shortcut Nepeta's character development, ruining it in the process.

Aradia should've been allowed to stay with the rest of the team and live a life free of the control of evil uncles and shitty ancestors.

Sollux should've been allowed to stay with the rest of the team because we all deserve to heal and be happy.

Feferi should've survived so she could be in a kismesistude with Nepeta, and realize that casteism itself is bad, not just the definition of culling, and then used her Witch of Life powers to even out the lifespans between the next generation of trolls, which needs to happen or else casteism will just happen again as long-lived highbloods inevitably amass power. And, also, it would complete the prophecy Gl'bgolyb gave her that she was intended to unite the two races (dream bubbles don't count, because by that metric, Sollux did more than she did by establishing a connection between the trolls and humans).

And Eridan should've survived, because the harm society has done to us can be undone. We don't have to submit to the roles it imposes, to the laws it wrote, to the abuse it inflicted. We can be free.

I've seen a lot of people who believe that such-and-such character did SUCH awful things that they don't deserve a happy ending. Oftentimes, it's Eridan, but nearly all of the dead trolls have gotten this treatment. So, let me just ask all of you who have gotten this far and still hold that opinion one thing. Do you think that's what Troll Jesus would have wanted?

This is why pale EriKar is so important: for it to happen, Eridan has to make a choice between upholding the beliefs of his shitty society, or pursuing a happier, kinder future, one where he outright rejects the caste system. For it to happen, Karkat has to shake all his insecurities about not being good enough by Alternian standards, and take on the duty of creating something better than what he came from. If pale EriKar happens, it means Eridan and Karkat choose love, not fear. Compassion, forgiveness, and equality.

This choice - this pairing - is the ultimate representation of giving Alternian society one big middle finger. Saying, we don't need you anymore, fuck off! Saying, we reject you at your core; we will choose something better! Saying, we will create a new world, and it will be kinder than the one we came from!

Pale EriKar means LOVE WINS.

Thank you for reading.

[little-lynx]

You certainly aren’t a racist for liking Pocahontas, let’s get that clear. You can draw what you want to draw. But with that, let me give you an American perspective on why someone might have been upset.

The movie (with an amazing soundtrack and visuals) has gained a lot of criticism over the years because of its depiction of Native Americans. A common stereotype is that Native Americas were essentially hippies who chilled out in the forest and worshipped nature and smoked pipes before white people came along, and that’s not a good thing because it treats multiple tribes as a giant monolith (meaning that they are all basically the same) and continues to spread misinformation about multiple different cultures.

I will admit that I was really wary seeing your illustration. Not because it was bad (far from it), but from an American perspective and from the context of history of how white/European colonizers came and took land that wasn’t there’s, purposefully infected tribes with scarlet fever to wipe them out, stole resources, etc, you are technically putting Peeta into that role through your work by drawing him as John.

And because the movie stereotypes Native Americans, having Katniss as this Pocahontas like figure also puts her into that role of “hippie native princess” like the movie did. That’s why people might have gotten upset.

Again, this person had absolutely no right to call you a racist because you aren’t. They’re just being stupid. 🙄🙄🙄🙄. But it’s important to understand there is more than just a film thing, there’s a lot of historical background to it and a lot of it is really bad.

If you want to put Katniss in a Native American role for art, check out the Seminole tribe, the Chickasaw tribe, the Choctaw tribe, or the Creek tribe! All of them were/are situated in the southern United States where I believe 12 is meant to be! Correct me if I’m wrong.

Thank you dear ;) I think your way of explaining things is a lot better than aggression and hatred.

I think sometimes people forget that we all have different backgrounds and what is obvious to you is absolutely not that clear for other people. Being from another part of the world I can’t fully understand the delicacy of this topic so I should have done a disclaimer or something like that probably. Or I shouldn't have drawn this at all, yeah.

Anyway, I’m ready to apologise once again. My illustration was made to represent love, not hatred. I’m sorry if it looked offensive.

I’m not sure I’m ready to draw Katniss as NA ever again. Maybe I will just stick close to the books and that’s all. We’ll see. But thank you for information. I will definitely read about it ;)

[nellasbookplanet]

To your post on people finding the M9 campaign disappointing, as someone who hated the ending I agree with almost all your points. I really did want to end with having seen them all settle into their places. However your point of a continuation after fighting Lucian feeling cheap is the exact opposite of how I feel. To me, as it stands the ending feels cheap. Molly as a character was only around for 26 of 141 episodes. I fundamentally don’t believe that he had as strong of an affect on 1/2

the M9 as he did on the fandom. Yes he helped shape who they are as people at the beginning, but then they all (and the narrative) grew on from that and developed on their own, so for him to be forced back into the narrative as the big bad of the campaign felt cheap. If they would have continued on for a bit more and had time to show individual characters on their paths of the journey I would have been satisfied with the ending. 2/2

Well, anon, I simply don't agree.

Back when Molly first died, when I was very new to the show and only just dipping my toes into the tag, I vaguely remember coming across this post jokingly saying how bad it is when your group is made up of people only in it for themselves with only a chaotic asshole as your moral compass, and then that chaotic asshole dies (trying to save you, no less).

Molly’s death, and the Iron Shepherd's arc as a whole, fundamentally changed t9's outlook. Before then they did the occassional good deed when the opportunity presented itself (saving Kiri, helping that family in Hupperdook), but mainly they were mercenaries working for whoever paid them while secretly having their own agendas. There wasn't much real loyalty, and frequent inter-group clashes due to lack of trust (Fjord holding a sword to Caleb, Nott attempting to steal from the group, Molly charming people left and right and only divulging his past when put under zone of truth, Beau forcing the truth out of Caleb, I could go on). Molly was no exception; he was an asshole with a poor understanding of boundaries and no qualms about scamming people, but he still had a very clear moral sense that a lot of the group lacked. He doesn’t leave people behind. He leaves things better than he found them. He’s here to have a good time but not to cause harm.

The Iron Shepherd's was a turning point. It was when they stopped being colleagues and decided to risk their lives for each other, learned the very real consequences of said risks in losing Molly, and then decided to keep going anyway. We saw this very clearly in Caleb, who nearly bolted when the going got rough, but once he'd made the desicion to stay there was devotion. After this, most of what they do is for each other. They go to the ocean for Fjord. Travel to Xhorhas for Veth. Fight Obann for Yasha. Stop the war for Caleb and Beau, because the Empire is their home. Hold travelercon for Jester. Save Caduceus' home. Fight Trent for Caleb and their families. They are no longer just mercenaries, they are family. And Molly as a person might not have caused this, but the circumstamces of his death combined with his personal philosophies certainly kickstarted it.

It is true they all grew and developed on their own, anon, but Molly was the jumping off point. He was the one who told Beau leave things better than you found them, which she only realized the truth of post his death and made her own. As she mentioned after t9 disasterously stole their first pirate ship (and isn't hilarious that they’ve had multiple pirate ships), one moment of clarity isn't enough. It was their own choice and their own work to grow and develop.

But they were all very clearly aware of the influence Molly had on them. Beau getting a tattoo in his honor (and keeping a piece of his clothing, which she then uses to beat up Lucien in the finale). Jester keeping his tarot cards, finishing them with her own illustrations and teaching herself to use them and then turning them against Lucien. Caleb designing the tower with Molly as a clear visual inspiration (turning also that against Lucien), and kissing Essek on the forehead and urging him to be better as a clear callback to Molly. Yasha keeping the clover he gave her, only to gift it to Lucien in hope of seeing a glimpse of her friend. Veth saying that the only choice they’ve ever consistenetly made is to take care of their friends. Molly’s ghost hangs over them till the end, when he is finally released in the awakening of Kingsley.

I also think there’s a point to be made of fandom reaction to Molly, especially as you brought up thinking he made a larger impression on fandom than on t9, anon. As with many popular characters, I’ve seen a consistent thread of bitterness toward Molly from certain corners of fandom (I have noticed the same thing with Caleb). People thought he was taking up too much space in the tag compared to their faves, who they considered more "deserving" of the attention. They wanted everyone else to stop talking about him and making things about him now that he was dead and, supposedly, irrelevant. When he then ended up not only coming back but taking center stage in the culminating arc, said people got upset that everyone who had refused to forget him had been vindicated. I believe they tried so hard to convince themselves that Molly didn’t matter and that everyone should move on that they turned a blind eye to the actual long term influences he had on t9 and the campaign as a whole.

[average-guy-reviews]

Bullet Train.

"Five assassins find themselves on a fast moving bullet train from Tokyo to Morioka with only a few stops in between. They discover their missions are not unrelated to each other."

Starring a fantastic cast that includes Brad Pitt, Bad Bunny, Aaron Taylor-Johnson, Sandra Bullock, Zazie Beetz and Hiroyuki Sanada, this is a violent, bloody, hilarious action comedy. It's a 15, and rightly so. It has a lot of blood, death and (limited) sex scenes.

Let's start with the look of this movie. I watched it in IMAX, which helps no doubt, but this film is stunning. The scenery, as it whizzes past the train, illustrates the beauty of Japan and is just a delight to look at. The city scenes give you the air you'd expect, neon sights in the city lights, close cramped streets and a huge amount of people in a small place, and yet it never looks bad. The neon glow of the city is glorious. The train both looks fantastic and, almost, becomes a character in itself.

Brad Pitt plays "Ladybug", an assassin/criminal, who is a man returning to his business after some time away. He has found peace and just wants a simple job, refusing to take a gun with him. He gets on the train, finds the briefcase he's been tasked to get and then shit hits the fan. He crosses paths with multiple other hit people, inc Bad Bunny in a small, but pivotal, role aa "The Wolf". I don't know much about Bad Bunny other than having seen him wrestle once or twice in the WWE, but after this I'm looking forward to seeing more of him in movies.

Aaron Taylor-Johnson, playing Tangerine, along with Brian Tyree Henry, as his brother Lemon, are a pair of assassins Ladybug has crossed paths with before. Henry has a reasonably convincing English accent and the two men are a great pairing. The way they bounce off each other is brilliant and the chemistry between them is clear.

This movie is a smooth, slick, sometimes hyper violent, action film with many many laugh out loud moments all the way through. It looks fantastic and has a great soundtrack including japanese versions of classics which you'll find yourself singing along to in English, at least I did....

David Leitch has pulled an, almost, masterpiece out of the bag. He has managed to get some great performances out of a really varied cast, and his vision of the stylised violence, as well as the low level conversations between characters comes across smoothly, and with great clarity. I say almost a masterpiece because of a couple of minor continuity issues that, while not affecting the overall movie, were pretty noticeable.

It's a great movie though and I thoroughly enjoyed it. On my category system it's a 1, I'll definitely be going back to watch it in the cinema. I'm more than happy to give it an 8/10, with a full recommendation to go watch it.

Oh, before I go, the snake is an absolute star in the film, and there is a small cameo that if you blink you'll miss it, but it did make me go "Ah ha!!"

[silhouetteofacedar]

Fox Mulder, Closet Romantic Ch. 20: Nattduksbord

Previous Chapter - AO3 - MSR, rated E

This means something; Mulder can feel it.

This signifies a shift in their relationship; a step forward, from platonic partners to a romantic couple. It’s a shared experience that has the potential to change their dynamic forever. Years of trust, fighting together against a common enemy, seeking the truth… it could all come crashing down today, in a shopping mall in Woodbridge, Virginia.

They’re going to IKEA.

Summer is on the rise, and the humidity is close to stifling as they buckle into his car. Scully’s wearing a little striped t-shirt, capri pants, and sandals, revealing sky blue painted toes. For a disorienting moment Mulder wonders if he’s going to develop a foot fetish. Probably not, but Dana Scully could make even the most vanilla of men want to do crazy things.

“Do you have your shopping list?” Scully asks as he starts the car.

He pulls the folded scrap of paper out of the chest pocket of his white t-shirt. “Right here,” he replies, eyes darting over to her for one more look as he holds out the list.

She takes it, catching his eyes momentarily. “Why do you keep looking at me like that?” she asks.

I want to suck your toes. “You look nice today, that’s all.”

“Oh. Well, thank you.”

Scully can probably tell he’s desperate for her; she can read him like a dog-eared, yellowed paperback. He’s simultaneously grateful for her sharp instincts and embarrassed by his carnal desires. He hasn’t gotten laid in four years, and he fears he’ll be too eager when the time comes. As it is, he can barely believe she’s let him have even the smallest glimpses of her as a sexual being. She’s intoxicating, and he’s dizzy with the knowledge that this beautiful, brilliant, downright edible woman actually wants him. Him, a mortal man of aliens and bad ties and a porn collection that’s gradually becoming least seventy-five percent redheads. A man without a bed.

Hence their Saturday morning pilgrimage to the shrine where all new couples journey to find furnishings, low prices, and themselves.

“So, we’re looking for one tall bookshelf, a locking filing cabinet, a bed, and two night tables,” Scully reads. She refolds the paper and reaches across him to tuck it back into his shirt pocket. “That’s clearly not all going to fit in this car,” she notes.

“I’ll get the bigger stuff delivered,” he says.

It’s only a twenty minute drive from Mulder’s place, and they have the air-conditioning on. Mulder is starting to relax; it’s been a long time since he’s had a partner, in the domestic sense, and he’d forgotten that it makes the mundane more bearable.

Scully clears her throat almost imperceptibly. “I’m proud of you, by the way.”

“Really? Why?” Mulder asks.

“You managed to get rid of a lot of stuff,” she says, turning up the dial on the car’s air conditioner. “And organization is very clearly not your strong suit, so progress should be acknowledged and celebrated.”

“Yippee,” Mulder deadpans.

“You know, it’s odd; we’ve known each other for all these years and I never asked… why don’t you have a bed, Mulder?”

There it is, the question he knew would come up at some point. He clears his throat, grips the steering wheel a little tighter. “I, uh… I lived with someone, around ‘91. Another agent, actually. We were together for a while, and then one day she took some assignment in Europe and that was that. I got rid of everything that was hers, and that, uh, included the bed.” Technically our bed, he thinks. He winces. He’s never talked to Scully about Diana before, and he wonders if she’ll be upset that he was withholding such a large piece of personal information.

Scully is quiet. “I’m sorry,” she says softly. “That’s… I didn’t know.”

“I’m sorry I never mentioned it,” Mulder says. “It’s not like it’s some big painful secret. I just… don’t really think about her anymore.”

“It’s alright,” Scully says. “I think it’s best for these kinds of things to come up naturally. And… I was dating someone when we met,” Scully confesses. “We broke up as soon as I got back from Bellefleur.”

Mulder looks at her quickly. “Really? Why?”

She furrows her brow. “Multiple reasons, but primarily I realized that this job, my assignment, was bigger than I’d anticipated. And the things you and I went through together, the things I’d seen… when I was honest with myself, I didn’t want to be tied down to him. To have to go home and have this man ask me how my day was, as though he could ever understand even half of what we do.”

“So you chose the job over him,” Mulder muses.

“In essence… I chose you,” Scully points out. “Whether I knew it then or not. I’d never be able to turn my back on you.”

Mulder exhales slowly. He’s strangely moved.

“Take a left at the next light,” Scully prompts softly. “And yes, I do realize the irony in breaking things off with a man because of his normalcy, only to continue trying to date so-called ‘normal’ men.”

Mulder shrugs. “No, it makes sense. Maybe he just wasn’t right for you, but the next normal guy could be, right?”

“Right,” Scully sighs. “Einstein’s definition of insanity. Doing the same thing over and over again while expecting different results.”

“I’ve been led to believe that being with me is another type of insanity,” Mulder points out. “And objectively, I can’t disagree.”

“You do make me crazy,” Scully agrees, voice low. “But that’s not always a bad thing.” He feels her small hand squeeze his thigh. “And I fully intend to return the favor.”

Mulder lets out a quiet groan, hands sweaty on the steering wheel. “You planning on giving me some roadside assistance, Agent Scully? Because I’m gonna need it if you keep doing that.”

She removes her hand, tucks her hair behind her ear. “I didn’t do anything,” she says innocently.

“Uh huh.” He pulls into the IKEA parking lot. “Well, we’re here. You ready?”

“As ready as a person can be for a labyrinthian furniture store on a muggy Saturday,” she replies.

-

“This is fucking ridiculous,” Mulder says from his spot on the bedroom floor, surrounded by scattered pieces of a ‘HOLLEBY’ bedside table. “These instructions are useless and-” he flips through the booklet, “-thirty-two pages long, Jesus.”

Scully doesn’t respond; her eyes are glued to her own manual as she assembles a drawer from the second of the two nightstands. “Shh,” she hushes him softly. “I’m concentrating.”

“How have you managed to put any of these pieces together?” he asks, scooting across the floor to her. “There aren’t even words, just vague illustrations.”

She has a screw between her lips as she lines up two of the wood pieces. “I took wood shop in high school,” she says around the metal pin. She removes it and inserts it into a pre-drilled hole. “I guess that was some kind of preparation for assembling flatpack furniture?”

“That’s adorable,” Mulder says, rising to open a window. The room is stuffy with the day’s heat, and his t-shirt is glued to his back. “Do you still have any of the things you made in class?”

“The step stool in my kitchen,” she replies. “And my mom might have some things I’ve forgotten about.”

He casually strips off his sweaty t-shirt and tosses it in the laundry basket. “Remind me to look at that stool the next time we’re at your place,” he says. “Also I’m gonna order a pizza, you interested?”

Scully looks up at him then and is seemingly surprised by the absence of his shirt. “It’s hot in here,” Mulder explains, almost defensive.

“Oh, I’m not complaining,” Scully says, eyes shamelessly traveling his torso. “And I’m always interested.”

“Are we still talking about pizza here, or…”

“Make my half one with everything, please,” she says, attention returning to her project.

“Wait a minute,” he says, dropping to his knees next to her on the carpet. “I’m not done here.” He leans in and presses his mouth to the juncture of her neck and shoulder, tasting the salt on her skin. How she can still smell so good on a sticky June day, he doesn’t know; but he wants to lick her entire body.

“Mulder,” she sighs, putting down her screwdriver, “You’re distracting me.”

“That’s the idea,” he says, lips wandering up her neck and behind her ear. He flicks his tongue against her earlobe. “Forget the furniture, honey,” he says, all hot breath and lust. “We don’t need it for what I have in mind.”

Suddenly she’s facing him, looping her arms around his neck. “I’m doing this for you,” she purrs. “Do you think I like putting together IKEA furniture? No one likes it, Mulder. It’s like a multidimensional jigsaw puzzle.”

He pulls her onto his lap. “Oh, but I think you do,” he says, nibbling her ear. “You like being capable Doctor Scully, in charge of things… showing me what those hands can do.”

She leans in, licking his full lower lip. “Not everything is about you, Mulder,” she says, pressing a scorching kiss to his mouth. “I’m just doing my coworker a favor.”

“Is that what they call this nowadays?” he asks, hands clasping her hips as she grinds down on his lap.

She shuts him up with a kiss, the furniture and pizza forgotten.

[flock-of-cassowaries]

Not to be an apologist for the serial killer who manipulates the object of his affection through hypnosis, forcible administration of mind-altering substances, and hiding his potentially-fatal brain inflammation, but…

But. But. But.

I think it’s pretty clear, if you zoom out (way out) that Will has always had the upper hand in this relationship, emotionally.

None of which makes the (real, unconscionable, realistically should-not-be-forgiven) things Hannibal does any less significant, but…

On a metaphorical / thematic level, I think the show does a pretty good job of illustrating the emotional dynamics of a relationship where one party (Hannibal) is all in, from the jump, and the other (Will) is aware of that, and intermittently willing to avail themselves of the pleasures of that connection, but also… kind of fighting with themselves about whether they actually want it.

That resonates with me on multiple levels. As a person who has a lot of pretty privilege, and a lot of “Oh shit, and she’s smart, too??” appeal, a lot of my early relationships* were characterized by me knowing my partner was into me, but fighting with myself internally over whether or not I actually wanted to be there.

Which is pretty much what Will’s doing.

( *I would like to clarify here that this was when I was in high school, 25 years ago, and I was forcing myself to date men I wasn’t necessarily attracted to because I was afraid of being identified as a lesbian. Statute of limitations applies, and also, they kind of sucked in their own right. Do not at me. )

Will’s reticence is pretty reasonable, once he realizes that Hannibal is a serial killer; but before he realizes that, when he’s just barging into this starry-eyed dude’s house at all hours, laying problems on him like:

“Good morning, I know we only met like two weeks ago, but I’m having an issue with sleepwalking. Also, nice pajamas, it isn’t too early, is it?”

…or:

“I kissed Alana Bloom”

…with seemingly total confidence that he’ll be allowed to do so?

Like, yeah, maybe that could be looked at as encephalitis or stress, but…

It’s also the kind of shit you just know you can do when you know someone else is totally down bad for you, and the relationship is heavily slanted in your favour in terms of investment.

I think the show works really, really well as a metaphor for a relationship between a queer person who’s all-in, and a person who’s outwardly straight, and therefore unwilling to fully commit.

And while I usually am more of a Better Call Saul girlie than a Breaking Bad enthusiast - i.e. a proponent of art whose major themes cannot be easily misread - I think in this case (I.e. with this particular theme, in a show aimed at a majority-queer audience), the way that they’ve left it up to the viewer as to how much they want to engage with that theme is a really clever choice.

Hold on, pardon me, my dearest apologies, but Hannibal drew him and Will as Achilles and Patroclus, LOVERS, and were just… moving on? Like no deep dive? Will really said “Alrighty, not gonna question that.” My dude if that wasn’t a love confession I don’t know what is.

[stina-is-a-punk-rocker]

jacqueline wilson’s ‘love lessons’

tw: abuse, pedophilia, characters making Bad Decisions, long unnecessary spiel about my childhood like I’m running a recipe blog

It’s funny how loads of the authors who helped shaped me into the vaguely humanoid being I am today have names beginning with the letter ‘J’; Judy Blume, Jeff Kinney, John Green, J.K. Rowling (yikes, I know) … and Jacqueline Wilson.

I’ve never owned a Jacqueline Wilson book of my own; they were always borrowed from a friend, or from a friend of a friend, or from a friend of a cousin- you get the gist. Her books, for me, come with an entire aesthetic: something reminiscent of yard sales, and reading under the covers with a flashlight, and being lulled into a false sense of security by the deceptively innocent Nick Sharratt illustration on the cover until someone’s best friend gets mowed over.

So I knew what I was getting into when I picked up Love Lessons. I knew this was going to be Fucked Up; and boy, was I right.

(Here’s the part where I warn you about spoilers.)

From an abusive dad to creepy child predator teachers to slut-shaming and victim blaming, this book has it all.

The main character is Prudence ‘Prue’ King, who is homeschooled at the beginning of the book, along with her sister, Grace. Their parents remain rooted in the early twentieth century, and are very strict about- well, everything. No TV, no computers, not a single mobile phone in the house; their clothing worse than the orphans’ from Annie; and their father remains distinctly distrustful of modern institutions like the school and the hospital; and so on, and so forth.

Daddy King suffers a stroke, and has to be taken to the hospital. Meanwhile, Mrs. King (a floppy, spineless woman who lives in fear and awe of her, frankly horrid, husband) sends the girls to school, behind the then invalid Mr. King’s back. Cue Prue and Grace being the freakshows of the school, with their strange clothing and overbearing mother.

Grace manages to make friends, but Prue remains alone. The kids are dicks, the teachers are dicks… well, all of them but one. And that’s the art teacher, Mr. Raxberry (I just couldn’t get over that name; it seems like something you’d name a mythical plant from Pixie Hollow or some shit. I’m assuming it isn’t an actual name, since the spelling & grammar check on my computer doesn’t seem to recognize it), or Rax, as he��s called.

Oh, yeah; Prudence’s favorite subject in school is art, and she’s a whiz at it. This is relevant, because reasons.

And here’s where stuff gets murky. Prue develops a crush on Rax- which is perfectly normal. I’m definitely no stranger to it; I’ve had crushes on my teachers, my mum admitted she used to think one of her professors was cute. And yeah, as I grew older, I grew out of those crushes and now have a markedly more refined taste in men (unless he’s 5’ 7’’, born in ’97 and named Bang Chan, I don’t want him); and my mum married my dad, so I’m assuming she did, too. Admittedly, now that my dad teaches at a university, it’s icky to think that there might be students who have crushes on him- but I digress.

My point is, loads of us have liked our teachers. But I doubt the majority of us have acted on it.

And Prue actively showing her interest in Rax isn’t the worst part. That’s a spot reserved for Rax reciprocating her feelings.

Guess Ezra Fitz and Ms. Grundy (yes, I watched Riverdale; please don’t cancel me) have a new addition to the Creep Club.

The age of consent in the UK is 16, if I’m not mistaken. Prue is 14. She’s just barely become a teenager, and she’s being preyed upon.

Because that is what Rax is. He’s a predator; he preys upon this vulnerable girl who’s never been in a relationship before- hell, she’s never even had friends- her father’s abusive, so she obviously doesn’t have the best experience when it comes to men- she’s unpopular at school, with the students and staff alike- and he lures her in. I don’t care how bloody nice he is to Sarah, or what a good dad he is (well, he’s really not, seeing as he cheated on the mother of his children WITH A BLOODY FOURTEEN-YEAR-OLD CHILD)- the guy’s a fucking pedophile.

I was staunchly stuck at a yellow light with him; like, sure, maybe Prue thinks he’s flirting with her- maybe she’s looking at this all wrong, she doesn’t know how relationships work- see, he drew a picture of Sarah, too, in his secret notebook- Prue’s just reading into this too much- up until he says he loves her.

Dude. Humbert fucking Humbert. She’s fourteen, for Christ’s sake, and you’re married. You have two children. She’s a child. She’s probably closer to your son’s age than she is to yours.

(This is the part where I bury my head in my pillow. And scream. Extensively, and with passion.)

The book does make some genuinely good commentary on slut-shaming and victim blaming and abusive parenting. And on one hand, I can see why so many people find issue with the romanticization of the when I kissed the teacher trope- but I can defend it, too.

The book is in Prue’s perspective. She thinks she’s in love with Rax, so obviously, she’s not going to throw in some valuable moral at the end- because she’s too young and inexperienced to think otherwise. And sadly, there are loads of instances of child abuse that go unreported because the victims just don’t know better.

What I have issue with is how the school dealt with it, ultimately. Prudence, a child, has to deal with the consequences of the actions of a literal child predator. Sure, Rax ‘clears his name’ by cooking up some bullshit story about how it was only a crush and he didn’t encourage it, but you’d think other adults would know better and, oh, I dunno- dig deeper into it, instead of blaming it on a child?

“She says you told Mr. Raxberry you loved him and he held you in his arms and fondled you.”

Which Prudence denies, because, again, she doesn’t know better. She then goes on to say that they did nothing wrong. To which the adult speaking to her, in this case, the principal, Miss Wilmott, goes on to say:

“I’m not sure that’s entirely true… I feel that there are some aspects of your friendship that could be considered inappropriate.”

FYI, lady, he kissed her- multiple times (not that kissing her once makes him any more redeemable), and told her he loved her, and admitted to fantasizing about running away with her and leaving his family behind. Fun fact: do you know Prudence is underage?

You’d think that Miss Wilmott would maybe give this whole fiasco a favorable ending, but it turns out she listens to school gossip;

“I haven’t been at all happy with your attitude. You don’t seem to understand how to behave in school. I’ve heard tales of unsuitable underwear and then a silly romance with one of the boys in your class. I feel that in the space of a few short weeks you’ve made rather a bad name for yourself… I don’t know whether you intend to be deliberately insolent but you certainly come across as an unpleasantly opinionated and arrogant girl… I can’t help feeling that you’ll be much better off elsewhere. I shall try hard to engineer a suitable transfer to another school.”

And then she comes out with this gem:

“If you won’t leave, then I shall have to ensure that Mr. Raxberry finds another position.”

“No, you can’t do that! He’s a brilliant teacher.”

“You should have thought of that before you started acting in this ridiculous and precocious manner. If I were another kind of headteacher, I would have Mr. Raxberry instantly suspended. There could even be a court case. He would not only lose his job, he could find himself in very serious trouble. Did you ever stop to think about that?”

Girlboss, gaslight and gatekeep. The fucking trifecta.

Also, by ‘another kind of headteacher’, does she mean the kind of headteacher WHO DOESN’T LET CHILD PREDATORS ROAM FREELY WITHIN THEIR HALLS?

This bitch is out here blaming a child, a literal child, for the crimes of an adult man.

The only time Prue seems aware of the fact that Mr. Raxberry is actually a very shit person is her immediate thoughts that follow after she tells Miss Wilmott she’ll take the fall;

I so wanted to save darling Rax- and yet why hadn’t he wanted to save me? Had he told Miss Wilmott it was all my fault, that I’d got a ridiculous crush on him, that I’d made ludicrous advances to him? … I wanted to tell this horrible, patronizing woman how hungrily he’d kissed me, but I couldn’t do it. I loved him. I had to help him.

NO, SWEETHEART; YOU MOST DEFINITELY DO NOT.

And maybe I’m going overboard with all these excerpts, but here’s what Rax has to tell Prue, after school, following her expulsion:

“I let her think the worst of you, the best of me, just to save my skin. I said it was ridiculous talking about a love affair between us. I said you simply had a crush on me, and that I was just trying to be kind… You were brave enough to stand up to me and force me to acknowledge the truth… I love you… That’s why I had to take a risk and see you this one last time. I didn’t want you to think I didn’t care… Every night when I close my eyes, I’ll think of us together in this car and how badly I wanted to drive off with you. I’ll imagine us walking hand in hand at the water’s edge… I wish I wasn’t such a coward.”

(I burrow into the pillow further. I’m trying to suffocate myself.)

And that’s where I think Wilson went wrong. Sure, Prudence getting expelled for something that was completely out of her hands is unfair, and horrible, but it’s real. That shit can happen.

What’s bad is showing Rax in a positive light after all that. If only Wilson had written Rax to not be the Romeo he thinks he is. Make him ignore Prudence, throw her under the bus in front of her face, instead of this star-crossed lovers bullshit it’s made out to be. Show your younger audience that Rax is not a good man. I’ve got a little over two weeks left for my twentieth; I can see why this is unacceptable. But I was a little younger than Prue when I watched Pretty Little Liars, and my only gripe with Aria dating Ezra was that Noel Kahn was so much cuter.

It shows when you scroll down the Goodreads reviews; you’ve got adults giving it one or two stars, and teenagers giving it four or five, with their biggest complaints being, “but Toby was cuter!!!”

Other non-pedophilia related complaints regarding the book include: Prudence being unlikable- which I didn’t really notice, considering she reacted to some people way better than I would’ve, even at 19 (which probably says a lot more about me than it does about Prue, but oh well). Still, Prudence obviously isn’t the most prudent of people- and again, she’s fourteen. Look me in eye and tell me you weren’t an arsehole at that age (unless you’re fourteen now, in which case, I assure you that you’ll look back on yourself someday and go ‘wtf was I thinking’). Bringing up Toby’s dyslexia in an argument was low, though.

There were people who thought the Kings’ almost-Amish lifestyle was exaggerated and unrealistic, but I assure you, it may very well be real. There are 8 billion people on the world- it’s fair to assume that several of them are complete weirdos.

Grace was a sweet character, and I adored her with every fiber of my being. As were her friends Iggy and Figgy. Honestly, I would’ve loved a book about Iggy, Figgy and Piggy’s (mis)adventures too.

[bestworstcase]

To be honest tts had many characters who had their emotional and mental trauma handled horribly, they deserve better exploration on how they healed and what they went through. Tangled The Movie did a better job of handling these mature themes but why couldn’t tts?

ok so tbh i don’t agree ajklsdlkjf

like! ok to start with. tangled (2010) is kind of interesting to me in this regard because it does such a good job illustrating gothel’s emotional abuse and the harm it does to rapunzel but it - like, at the end of the day It Is A Disney Film. it spends almost all of its running time meticulously building up this very complicated emotional trauma for rapunzel, and then the resolution is like—BOOM!—she has a tearful reunion with her parents and they pull her boyfriend into a group hug, cue ending narration about how they got married and ruled corona and lived happily ever after. to me tangled (2010) feels like it runs off a cliff at the last minute because. lmao. 

leaving an abusive parent is the easy part.

which is not to say that it’s easy! but once you hit that emotional point of “i cannot have you in my life anymore” and cut them out... now you have a heap of maladaptive coping mechanisms and psychological scars and inherited behaviors that you have to deal with. you can’t just *flaps hands* cut off your abusive mother and skip off into the sunset with your long lost real family and new boyfriend whom you met three days ago and everything’s gravy. kskjdfjk it doesn’t work like that!

tts on the other hand - absolutely, there were clear limitations on how far they were able to go, and absolutely the plot-driven writing was a less than ideal vehicle for telling a story about recovery-from-trauma. but also like fundamentally tts is a story that is interested in recovery from trauma in a way that i don’t think tangled (2010) was. rapunzel has nightmarish flashbacks to gothel in s1, struggles because of her sheltered upbringing, expresses behaviors that she clearly learned from gothel and internalized as normal, flounders when she is handed responsibility because she is not used to making her own choices, and has complicated, messy feelings about her tower and gothel herself! there is a whole episode dedicated to exploring rapunzel’s ambivalent feelings about her new life in corona through the lens of her suddenly-fraught relationship with pascal. one of the emotional linchpins of the entire show is the moment in RATGT where rapunzel screams “enough, cassandra!” in a direct parallel to the way gothel yelled at her in the film, and while tts ultimately shied away from exploring that on rapunzel’s end, we got multiple episodes following up on how badly this damaged cassandra, eventually culminating in her villain arc in s3. 

likewise with cassandra - tts devotes two whole seasons to meticulously building up cassandra’s very complicated trauma, then allows her a whole season in which to have a messy, anguished, enraged breakdown because of it—and then her happy ending is *leaving behind* the toxic situation she was trapped in in corona to venture into the unknown and figure herself out, which is imo a lot more in scale and realistic than rapunzel’s happy ending in tangled (2010). 

likewise with varian - in QFaD he is badly traumatized, and the remainder of s1 examines how the failure of his would-be support network to actually support him leads to his continued downward spiral and eventual violent breakdown; when he is punished for this that explicitly makes everything worse both for him and for everyone else, and after his redemption he features as a deuteragonist in what is essentially ptsd flashbacks: the episode. etc. 

so my overall impression of the many places where tts *failed* to adequately examine characters’ trauma is very strongly that - they wanted to and they were capable of doing so, but there were disney executives going no, that’s too heavy, that’s too dark, you can’t portray the disney princess with serious deeply-entrenched flaws, you can’t have the disney princess be the one who’s in the wrong in her interpersonal conflicts, blah blah blah. s3 in particular just reeks to me of executive meddling and executive sanitizing of the intended plot. i’m honestly shocked that tts got away with going as far as they did, especially with rapunzel’s and cassandra’s childhood traumas, because frankly it spits in the face of the squeaky clean happily ever after Disney Princess Brand aljsdjfk. 

(also as an aside - one’s personal reading of the text is imo a big deciding factor in how unsatisfying the handling of trauma is, bc - i think there is a tendency in some areas of the fandom that are centered around varian and/or eugene for fans to go “they should be more traumatized than they are and it’s bad writing that they’re not broody and angsty about xyz” and like - 

the impression i have from being on the sidelines of this discourse is a lot of people have one specific model in their heads of what “trauma” looks like and that model is essentially “miserable and brooding and needing to be comforted” so when we get things like eugene coping with awful shit by cracking jokes about it or not having ptsd flashbacks to gothel stabbing him that gets interpreted as the narrative not taking him seriously as a character, whereas to me it reads as “eugene is a psychologically stable person who has the emotional resilience to cope with horrible events relatively unscathed”—

or this vibe of varian isn’t brooding and angsting all the time so obviously tts is ignoring his trauma, when my reading of him overall is that he’s the kind of person who deals with trauma by throwing himself into work that makes him feel better - like in CR he’s working in the demanitus chamber, surrounded by amber, but he’s doing dumb chemistry experiments he enjoys and over time that’s gotten him to a place where being around the amber is no longer triggering for him, he’s healed enough to have conquered most of that fear.

and obviously all of this is a matter of interpretation and this is not to say that, like, fans who wanted more of a raw exploration of these characters’ fear and sadness and struggle with trauma are wrong or like invalid for wanting that, it’s more - like, i personally choose to take the text more at face value and interpret the behaviors i see on screen as telling me something about how the character responds to trauma instead of as the narrative ignoring that they have trauma altogether. which leads me to “eugene is emotionally resilient and humor is a key feature of his resilience” and “varian copes by working on stuff that is intellectually engaging or just makes him happy in order to tackle his fears head-on” and so forth. and one consequence of that is i don’t really walk away from the text feeling unsatisfied with the way tts handled its character traumas, except insofar as i’m like “wow i wish disney had let them go even farther!”)

[willadisastercry]

Voltron whump master list (bc my blog is hectic;))

this whump blog is my hyperfixation for the foreseeable future and i have a million outlines for fics and multiple in progress so this will be updated fairly regularly

Full fics:

Keep moving - Keith reckless and getting hurt trying to protect his teammates who have a very small window of opportunity to rescue him... (unfinished)

Part 1 / Part 2 (in progress, i’ll get to it lol)

The boys of voltron when Pidge is on her period - Pidge has a really painful period and Keith and Lance come to the rescue despite her protests

Keith has a whole panic attack in the middle of a mission - he’s not usually one to let his team down during a mission, especially one he’s leading, but his unrelenting panic has other ideas

Retrival mission gone horribly wrong - literally everyone gets whumped in this (unfinished)

Part 1 / Part 2 / Part 3

Appendicitis in space - Lance doesn’t realize he’s sick until he pushes too far

Sleep deprived Keith annoying the crap out of everyone before crashing - Keith’s hyper and no one knows what’s going on until he gets himself hurt and crashes

Pidge is less okay than everyone thought... and that’s okay - Pidge works herself into a panic trying to decrypt information that might lead her to her family and can’t calm herself down on her own

Lance has epilepsy and gives everyone an absolute heart attack - he runs out of medicine to stop his seizures and refuses to tell someone, Hunk and Pidge are sworn to secrecy and Keith is just as in the dark as the rest

Part 1 / (tbd)

Slow and steady... breathe - Lance is forced to stitch his own wound while his friends guide him through it over the coms

Shiro cauterizing Keith’s wounds during a mission and absolutely hating it - he tells Shiro that it’s okay and to just get it over with but Shiro is as green as Hunk and really, really doesn’t want to do what he’s about to do

Space godzilla meets Keith and Pidge bonding moment - in an unfortunate turn of events the two find themselves succumbing to poison quicker than Keith can get them back to Pidge’s lion

Keith relapsing and not being able to stop once he starts... - ⚠️trigger warning for self harm!!! Keith gives in to his urges but ends up hurting himself worse than he set out to. Lance finds him... so does Shiro

Part 1 / Part 2

Keith pushes his body to its limit to save Pidge and is too stubborn to tell anyone that he’s more than ‘just a little tired’ - Keith doesn’t want to stress his team out further by alerting them of what he thinks were only minor injuries, especially when Shiro still has to pilot Black after Allura uses so much of her quintessence to heal Pidge that she passes out, leaving him the only one capable of helping

Part 1 / Part 2 / Part 3

Neurodivergent Keith getting soft comfort from his team - our stubborn boy doesn’t want the team finding out he’s on the spectrum because he’s afraid they’ll think differently of him (emotional whump)

When the dust clears and you almost wish it hadn’t... - the paladins respond to a distress call but things turn sour and three of them get trapped

Part 1 / Part 2 / Part 3 / Part 4

Lance ignores his asthma and Coran is not willing to be an accomplice - basically bad things happen when the paladins are too stubborn for their own good, especially when it’s Lance

Part 1 / Part 2

Comics:

Seriously, I’m fine - some of my favorite scenes illustrated from Keith pushes his body to its limit to save Pidge and is too stubborn to tell anyone that he’s more than ‘just a little tired’

page 1 / page 2-1 / page 2-2 / page 2-3

Drabbles and headcannons:

Voltron & anxiety - drabble about how Lance is voltrons emotional support animal

The boys of voltron when Pidge is on her period - headcannon with all of the boy’s reactions when they realize Pidge is on her period

[lumi-klovstad-games]

Okay. You know what? I'm gonna defend my argument here. I respect your stance, but I do believe in what I wrote. I will take this opportunity to offer a more pointed illustration of why, since I believe it may help someone --anyone, really-- understand my point better lest they think I'm just cruelly beating on a game they like, even if that person isn't necessarily you (obviously, I hope you'll at least do me the courtesy of hearing me out, but I don't require it. You have one life so you do you.)

First off, again I say: if you enjoyed FF16, I'm happy for you. Truly. Genuinely. My criticisms of it are not meant to instill hatred for the game, but point out where I believe it requires significant improvement.

That being said, read on if you're interested. If not, well, I'll still freely admit to being overly harsh with my original wording before you leave.

Kingdom Hearts is actually a good example for how Square has, in the past, taken stories in a Dark As Fuck direction without trying to edge into becoming Warhammer Fantasy Grimdark. Now, obviously, FF16 isn't exactly that, but it's a clear push in that direction, and one that, as a Final Fantasy 16 thing works well, but I do not wish to see it define the series going forward, as Square-Enix execs have implied they plan to.

Kingdom Hearts is dark as hell, and here's some VERY short descriptions of how:

The villain of the first KH game is literally a guy who mind rapes a child into giving up his body to what amounts to a demonic possession and has genocided multiple worlds because he thinks that's the way the universe should be.

The villain of the second game was willing to kill as many people as possible just to create and acquire the Macguffin he thought might enable him to feel emotions again and had no regard for anyone outside of himself.

The villain of the saga overall wanted to create an endless war between every world in the multiverse because he thought that the resulting never ending butchery would cause "growth" and "innovation" and "answer questions he had about the universe", and used all the prior bad guys in the series as disposable pawns.

Final Fantasy VI literally blew up the planet and made the last several hours of the game's plot AND the final boss not about saving the world, but avenging it.

Final Fantasy X was about a Theocratic State using their Religion's dogma to lock the entire world in a never ending spiral of death, cultivating heroes like crops and casually discarding them by fooling them into pointlessly sacrificing themselves because that gave people false hope and reinforced their faith in the establishment.

Final Fantasy XIII was about a literal Murder Cult of Gods who were bored with the world they were ruling over and so used fear and propaganda to try to start a war amongst their followers that would kill everything so they no longer would be "burdened" with looking after "lesser creatures".

Square has ALWAYS done dark storytelling. You'd be hard pressed to find a Square game that hasn't gone into genuinely grim, disturbing territory. But it's never been so hamfisted about it. The colors and vibrancy of their worlds have typically contrasted the darkness that lies at the heart of their stories, making that darkness more effective and motivating the player to save the world because they've seen a world full of beauty.

Onto my next point: Square is just as bad as Konami about seeing a game's success or failure and taking entirely the wrong lessons about it. For instance, deciding Infinite Undiscovery, genuinely one of the best JRPGs of its generation, was "just something people clearly didn't want more of" when it failed to meet sales expectations, never mind that they put it exclusively on the worst performing system in Japan at the time (the Xbox 360), and barely marketed it all in regions where Xbox 360 had a bigger foothold. Tellingly, the dev team entirely cut their ties with Square-Enix for good afterwards.

Or, after seeing all the bad customer reviews for Final Fantasy XIII, which remains a front runner for "most divisive game in Final Fantasy history" and deciding that game needed TWO sequels. Admittedly, the sequels both addressed gripes many people had with the original, but that they were greenlit at all was shocking. It did not help that they too still landed to decidedly divided audiences.

This is also the same company that was dead certain that Forspoken was a surefire hit because it was made more "Western Style" (which Square-Enix seems to have developed an obsession with recreating for some reason), when their marquee games like Final Fantasy have traditionally stood out in America for... exactly not being that.

My fear (and a well founded one given how Square-Enix execs have behaved in the past) is that Square-Enix will look at the success of Final Fantasy XVI, and decide, without ever considering the other factors, that it was the literally dark and muted color aesthetic and much more pointedly grimdark tone that was so popular, and continue that trajectory, turning Final Fantasy into something that no longer stands out so well amongst all the other games that are already doing that. Final Fantasy has worked so far partially because it's not "Dark and Edgy" like everybody else.

That is why I want the game to fail. As an individual game, I like it. It's good! But Square-Enix has shown time and time again, for decades now, that they are willing to abort promising IPs, and promote and continue to support unpopular ones, because of mercurial executive reasoning that deliberately misconstrues a game's performance on the market and acquires the wrong take away lesson again and again as they have done for at least 20 years. The only thing that could actually stop that is for the game to fail to a degree that Square-Enix takes a bloody nose (or, crucially, just feels like they have) and washes their hands of the experiment.

It's worth noting that when Square-Enix has backed off an idea in the past, they've historically revisited it a few years later, but it tends to be much better because developer hindsight is often 20/20.

Fortunately, as Square-Enix is a company that delights in routinely setting highly unreasonable sales figures, the game could actually perform quite well and still be regarded as a disappointment. So, it's not as though I'm wishing a Pox on anyone's House here. And so far, it looks like exactly that is happening: it's doing well, just not "Square-Enix Executive Board's Hopes And Dreams" well, because that's not really a reasonable or attainable goal for most games, even a modern Final Fantasy game.

So, if this goes the way I hope it will (and early evidence is suggesting it will), everyone gets what they want. Square-Enix isn't going to "unpublish" FF16, so people who like it still get to enjoy it. Final Fantasy XVI still turns a profit, just not Square-Enix's unreasonably idealized idea of a profit. Square-Enix resultingly backs off making Final Fantasy into a Game of Thrones-toned "Dark Fantasy" series, and hopefully revisits the idea of a Medieval or Renaissance-themed Final Fantasy later, but realizing that a game doesn't have to lack bright colors or have the world be so depressingly bleak to tell a dark as pitch tale.

As for 16's dark as hell aesthetic and tone, I actually do dig it, and wouldn't mind it forming the basis of a spiritual sequel with a new IP; triple-A gaming could always use more of those, after all. And it would permit Square-Enix additional opportunities to be seen as something more than just "the FF and KH company".

Hopefully this didn't come across too harshly. If you read all this and still disagree that's totally fair. You are your own person with your own opinions and I have no interest in trying to force anyone to agree. I did feel laying down my thought process was important and I didn't really do that adequately before, in addition to having opened my argument with harsher word choices than the topic deserved.

Apologies for the long as hell post. Kudos for those who stuck through it all.

Have a potato.

I don't intrinsically hate Final Fantasy XVI, but I need this game to fail as badly as possible.

It is too bleak, too colorless, too depressing and dark.

And if you enjoyed the game, that's okay! I'm glad you did!

But I don't want this bleak tonal shift to become standard going forward. And if FFXVI is a massive success, then Square Enix, a company who is a leading world CHAMPION at learning the wrong lessons from a game's success or failure, will be tempted to move the entire SERIES in that direction, and Final Fantasy stories were already plenty dark, just less in your face about it.

Final Fantasy shouldn't try to be The Witcher.

Please fail, FFXVI. I can't bear the thought of Square Enix going "oh! People LOVED the new darker and grittier tone! Okay, apply that but even more so to the next SIX FINAL FANTASY GAMES!"

It's too much. Final Fantasy does not need to be bleak or oppressively dark. Put that shit in another game.

[thedreadvampy]

Ok please if you don’t mind saying - who is Stuart semple and what did he do? I’m so confused. Like I recognise the name and I think he might the an artist or something but I have no idea

He is indeed an artist! He’s a English multidisciplinary fine artist best known for his ongoing beef with English sculptor Anish Kapoor over the 2016 exclusive licensing on the process to make Vantablack colour coating, which meant Kapoor was the only artist allowed to use it. Then Stuart Semple made Pinkest Pink pigment and said it was available to everyone but Anish Kapoor, and there was a big blowup which there’s a lot of documentation of - it was very memed.

Since then, Semple has made a bunch more pigments, most of them with the available-to-everyone-but-Anish-Kapoor disclaimer, and the beef periodically flares up, although I will say as time goes on it seems to me to have got increasingly one-sided given that Kapoor has pretty much wandered off.

(I’ve used several of his colours, btw. Pinkest Pink is pretty good. Blackest Black, his attempt to make the blackest possible paint (as opposed to Vantablack which is a nanofibre coating) I was pretty disappointed in, I’ve honestly had better light capture from mid-range art shop paints. His other pigments vary in quality - some I really liked, some I was meh on, but I think Blackest Black is the only one I was actively unimpressed by)

Anyway. Where I come in is much less exciting. 

A few months ago I reblogged a post on Tumblr asking about Semple from a discourse tag (my reblog did not tag or @ anyone), and I made a glib comment where I said (very truthfully) that while I thought he was pretty decent at pigments, both his paintings and his online persona came across pretty adolescent to me.

so it turns out Stuart Semple is an inveterate name searcher (hi Stuart if you’re reading this!) 

(Side note: I actually should have guessed this from 2019 Twitter when he saw and commented on an untagged thread I wrote about him and Kapoor’s beef (which was because I’d seen an article in which Kapoor, a British-Asian man, said that the racist Prevent strategy was liable to drive young British-Asian men into the arms of terrorist groups by making it clear their country hates them reblogged on Semple’s account with a caption claiming Anish Kapoor was pro-terrorism, which, while tongue-in-cheek, isn’t a neutral statement for a white person to make about an Asian person and was a pretty phenomenally bad-faith reading of Kapoor’s actual words) and in my thread I pretty much said that when the story had broken, I, like everybody else, had found it very funny and been firmly on side with Semple’s bit, but I felt that a) after a couple of years it really wasn’t very relevant any more and it had started to feel less like Fighting The Power and more like bullying the amount of Semple’s web presence was devoted to talking about Anish Kapoor; b) that it was a shame that Anish Kapoor was increasingly only known as The Vantablack Guy given that I really like a lot of his work and c) that continuing to frame a Jewish person of colour as the Face of the Artistic Elite was a bit weird given how overwhelmingly white the high-end art world is. but I digress. Semple responded to that thread, I don’t really remember what he said, it wasn’t an acrimonious response but it was a bit Oh I Didn’t Do Anything To Tag You?)

so anyway he found my reblog and commented saying ehhh I don’t remember, something along the lines of not feeling like I was being very kind and that he was trying his best. also I think he said I had accused him of being racist? which again the actual Tumblr post literally just said I thought his art and persona came across as juvenile and I think in the tags? I mentioned that I thought it was time for him to step off the Kapoor beef. 

then he screencapped my post, including my profile picture and username, and posted it on all his socials with a kind of :( people are so mean on Tumblr :( caption and um

idk if you know this about Being A Public Persona With Tens Of Thousands of Followers but. if you post someone’s identity and say ‘I do not like what this person is doing’ it. can get messy fast.

uh I don’t follow Stuart Semple (see the original post I made) but he commented to make sure I knew he’d posted my post on Instagram and “all my followers like your wig :)” which. according to my partner who did go and look at the time, the Instagram comments were largely about how I was an ugly non-passing trans woman aka “man in a wig” which. throw the whole suitcase out. There were a good few days where I got a lot of angry anons, ranging from ‘stop bullying Stuart Semple!!!!!’ to ‘die in a ditch graphically’ to ‘how can you claim to have opinions on art when You Are On Tumblr’ (I have been a freelance illustrator for 7 years and I have a Masters in art and design) to ‘your art sucks and you’re fat and ugly’ and my personal favourite ‘how can u be cis and use she/her pronouns you dumb snowflake’

(within that furore was a whole branch where someone was like ‘sex worker huh bet you’re bad at it’ and I was like ‘yep! that’s why I don’t do it any more! it’s hard work and it involves a lot of self-promotion and customer skills which I don’t like and am not good at!’ and this was a Whole Thing where they kept trying to insult me (much like today’s anon) about my supposed failures as a Slut Who Is Bad At Sex and I kept going like ‘ok but here’s how that just. doesn’t make sense in reference to what sex work actually is so like, ok?’)

and Stuart Semple and I were also having a conversation which, depending on your perspective I would call his attitude either conciliatory or passive-aggressive, there was a lot of ‘me and my followers would never say rude things about you :) keep up the art kiddo :)’ and being charitable I would say he was trying to be nice while being angry, and to avoid escalating (but with the added context I got later about the wig comment, I think that interpretation of his behaviour maybe. has some cracks?) and ultimately he took down the posts, we had a brief conversation about keeping pet reptiles (apparently he has a lizard) and we left it on, if not good terms, at least peaceable ones. 

however I still periodically get messages about it from angry Semple stans. and I’m not sure the argument was resolved, in that I still very much think it’s fair to make criticism, including quite harsh criticism (which I’m not sure ‘adolescent’ is), on art which is put out for public display and enjoyment, and that it isn’t a personal attack to post a criticism of someone’s public-facing work and statements on social media unless you actively target it towards them (for example, @ ing them), and Semple still thinks there’s no difference between a random blog with under a thousand followers criticising a public figure’s work and a public figure with 100k followers on most platforms criticising that blog (out of context - he clipped out the post I was reblogging from and my explanatory tags, and looking at my blog you may notice that 90% of my nuance is in the tags) while giving his followers all the information to find said blog.

(also as multiple people have remarked. if you want to say it’s an unfair criticism to call your online presence immature, being a middle-aged artist who as far as I can tell has a net worth over a million who spends your time name searching yourself in order to get mad at untagged mild criticism from strangers on the internet and share it on all your socials for your followers to join you in Being Big Mad is uhhhhhhh. it uh. it’s not like. not super thin-skinned and immature)

(also also I just googled his net worth and unsurprisingly I can’t find a source on it I’d consider reliable, but I did find multiple articles about him getting in trouble for breach of contract and nonpayment for gallery employees, including two accusations of him writing a big defensive blog post then changing it after a few hours to a very short post saying I LOVE YOU so like idk how true that is but it does seem. consistent with the above interactions.)

[connan-l]

All right, so now that I finally digested the final a little I have some random messy thoughts about Fruits Basket 2019. It got really long lol, but this has been stuck in my head for a while so I needed to get it out!

Honestly, it was a very good adaptation and I’m still in awe I was able able to see the whole manga animated. Fruits Basket is pretty important to me, as I read it for the first time when I was around twelve and it was definitely one of the series that impacted me the most — the way it tackles themes of cycle of abuse, loneliness, grief and moving forward still feel very special to me even now (I briefly wrote a post about it months ago after rereading the manga), so of course I was delighted upon hearing the reboot announced and for the most part, it didn’t disappoint. I’d never truly thought I’d be able to see characters like Rin or Machi actually move on screen in my lifetime so in a way it still feel surreal lmao (RIP to Komaki though). It was really refreshing to revisit the story in that way, especially given amusingly enough I am myself in the middle of some big changes in my life where I have to leave things behind so it felt sort of... well, I won’t say empowering per se, but quite encouraging and satisfying to watch Furuba, and especially its final, at this timing, in a way. It wasn’t perfect, there are certainly a lot of flawed directive choices that I question and unfortunately quite some important cut contents — but even at its lowest it stayed all in all good. I’m genuinely a bit stunned there are people who thinks the entire thing is worthless or a failure, because man, I have seen what a bad anime adaptation looks like, and Fruits Basket 2019 definitely isn’t one. Natsuki Takaya herself was clearly very invested and satisfied in that adaptation — I mean, just the fact she drew arts for every single episodes or for the season 3 ending really shows that I think. And while there’s a part of me who will always have a soft spot for the 2001 anime, there’s no contest that the 2019 one is the superior one and more representative of the original manga as a whole.

I believe some people really don’t realize how... uncommon it is to get such a consistently good-looking and complete anime adaptation for a shojo manga? Shojo really aren’t lucky in that prospect usually; they rarely get animated, and when they do they’re usually very bland or outright bad, or they get one short season of like 13 episodes that never receive any follow-ups — even shojo considered like classics tend to get poor treatment, unless they’re Sailor Moon of course or a long-running magical girls franchise like Precure (and even then we could have a discussion about the way Sailor Moon’s treated compared to say Dragon Ball for example, but that’s another topic entirely). So yeah it is quite awesome we were able to get this kind of anime adaptation that covers the full manga with good quality from start to finish, and I am so, so glad it exists and that it managed to revive and makes the series so popular again. (Hopefully its success means we’ll be able to get more good anime adaptation of shojo manga from now on!)

But yeah, that doesn’t mean there wasn’t problems with it and I also understand why some of the manga fans had issues. We were kind of hyped with the fact this would be a complete adaptation and in the end we only got a... sort-of-complete one lol. The art and animation stayed fine during the run (there certainly were some episodes that were uhhh, lacking in that sense, but that’s just how it is sometimes with productions and budget), but I admit I was a bit letdown regarding the direction, where it often seemed… a bit uncreative or heavy-handed. There was some very beautiful and smart shots here and there, but on the whole I really had an issue with the adaptation failing to actually take more ambitious decisions on its visual aspect, especially compared to the pretty pannelling of the manga — and when it did take these decisions it just was… kind of obnoxious and in-your-face, like the show is trying to hold the watcher’s hand (with unnecessary things like Kyo’s father record player derailing or the whole big ropes symbolizing the curse that often slapped you all over the screen, which usually just made me want to roll my eyes because of how annoying it felt.) Multiple people also pointed out the overdramatization of some scenes like the Kyo and Tohru’s confrontation at the end of season 1 or Akito and Ren’s fight which was, indeed, not very good and a weird choice. Fruits Basket is already a pretty dramatic show and these scenes are already intense, there was no need for such over-the-top theatrical display of emotions that only made them comes off as comedic. I’m probably nitpicking here but it also bothered me some characters’ expressions didn’t feel properly retranscribed (Shigure especially, whose characterization depends a lot on that, really suffered from this), or that odd habit of making some big panorama plans instead of focusing on the faces and bodies, which particularly sucks during emotional scenes (like the backgrounds were pretty I guess, but that’s not what was important here lmao).

Also that might be just a personal thing, but can I point out that the openings were pretty disappointing to me... They're not bad, but they all looked so... bland. The songs are fine but the rest feel so uninspired and it's kind of sad... I dunno, I wasn't asking for much but I just think they could've done more than just scrolling each character looking vaguely melancholic or making them walk randomly one after another :/ The endings have at least pretty illustrations and I'm okay with them (I liked what they did with Kyoko’s photo in season 3 too), but the OPs kind of feel as if they ran out of budget and ideas for them or something. I kind of feel the same with the OST as well, where they’re generally fine but were a bit lackluster, and sometimes… they were kind of played at bad times? I remember the Rin episode in season 2 were the music felt a bit out of place and took me out of the immersion, which is a shame cause it was otherwise a pretty good episode. But that might just be a me-thing here lol. The voice actors were awesome though! (The Japanese ones, at least, I didn’t watch any other dubs). I’ve said it before but special kudos to Maaya Sakamoto cause damn she’s so perfect as Akito, and Shimazaki as Yuki and Toyosaki as Rin truly delivered too. I didn’t know Manaka Iwami at all but I was really impressed by her Tohru, especially in season 3 — she really was good at capturing her character’s subtle emotional turmoils (I think she makes a better Tohru than Yui Horie too, although I admit I missed Horie a little lol.)

Anyway, on the topic of lack of ambition, that might be an unpopular opinion but there’s also the fact that I’m sad they didn’t actually... try to change or add more original scenes. By which I mean, obviously we had some changes, but not ones that were really interesting (when they’re not actively detrimental to the story). For example, I was really hoping that we’d be able to get at least one original episode focused on Ritsu (and Mitsuru too why not) in season 2 or 3, or on Kagura or Kisa; I dunno, it would’ve been a good occasion to give something more to the characters that got sidelined in the original manga, or add some moments that would’ve been nice to develop like about Akito post-cliff confrontation, but we never got that. And well, that makes sense now that we know they seemingly had an episode restriction (at least on season 3), but, yeah, that’s still a shame. Honestly in the end Ritsu’s character made even less sense in the anime, because like, it was nice they tried to adapt his introduction episode so that it feels less “you have to adapt to gender norms to feel better about yourself,” (the gender non-confirmity is definitely one of the bits that aged the less well in FB) but then they still made him cut off his hair and give his feminine clothes to Kagura at the end so why lol. (And speaking of his episode introduction, I dislike that they cut off his conversation with Tohru after the suicide attempt, not only for Ritsu but also for Tohru cause it is one of the small instances bringing up her issues that is set up early on and that is crucial to her, but I’ll come back to this later.)

And now about the biggest problem to me being, the cut content and episodes rearangement. So, just so we’re clear, I definitely don’t think an anime adaptation needs to be a page-by-page adaptation of the manga to be good. Every decent adaptation needs to have changes, and the ones that tries to just follow the source material without any heart often tend to get pretty bad. So changes are good! Cut content are needed sometimes. But in Furuba 19, it really... wasn’t the case.

And the most unfortunate thing being that the one suffering the most from this is the show’s main character herself, Tohru.

So, obviously other characters also got done dirty by this; Yuki and Machi’s relationship was so incredibly shifted in the background and rushed it’s almost funny. I’m one of the people who thinks that, while I do think they’re cute, I definitely agree on the fact their relationship was a bit underdeveloped in the manga — and that Machi’s character especially suffered as a result by being a bit reduced to just "Yuki’s love interest" when she was a character with so much more to offer (and as a whole I also tend to agree with the fact that Yuki probably didn’t need a romance at all and that his arc is more meaningful while focusing on his platonic relationships, but that’s another topic entirely) — but man, if the manga already underdevelopped them, then ohhh boy, the anime just completely dropped the ball. It feels very odd because to me it seemed like season 2 was taking their time with setting them up, so if they knew they had only 13 episodes for season 3 then they should’ve started the changes there; instead we got 1 nice Yuki/Machi/Kakeru episode, and then it’s like "Yep, they’re in love, just trust me." (It does makes me wonder if season 3 wasn’t originally supposed to be longer but then got restrained because of budget or covid or something…) Kakeru also very much suffered because of them cutting off his girlfriend and his complicated relationship with Tohru… Now, to be honest, I’ve always found the Kakeru/Komaki/Tohru subplot pretty... contrived and useless, and Komaki’s not so much a character more than a device for Kakeru’s development, but it does have some good moments relevant to the story’s themes (I like the ‘‘you can’t play suffering olympics with people’s pain’’morale) and it is important to his character (and Komaki is cute, I admit), so it was still sad they shafted it entirely. (Also I kind of like the tense relationship between Tohru and Kakeru. The fact they both seem to not appreciate each other even afterwards feel sort of refreshing even if it’s never explored unfortunately orz.) I was still surprised they didn’t actually try to make a Komaki cameo at the end? Cause I think it would’ve fitted and Kakeru’s girlfriend had already been mentioned in season 2 but... for some reason they... didn’t. (Mayyybe we’ll get an OAV like with Kyoko and Katsuya? Who knows.)

One scene that was skipped/rearranged that I’m very bitter over is the whole Tohru/Kagura confrontation and Kagura/Rin scene — it might not seem like much, but the moment of Tohru refusing to forgive Kagura is very important, and I was pretty annoyed they turned Rin’s trauma response to Kagura’s violence and her subsequent apology/hug to a gag, it legit felt tasteless. The Tohrin scene they removed at the very end too was frustating; it was great they managed to fit in the "Rin doesn’t want to forgive Akito" bit at least (I was afraid they’d cut it off entirely), but it was so essential for her to say to Tohru, not to Haru and Momiji (plus the way they put it in felt very random and awkwardly placed there, when they were initially talking about Tohru before orz). OH AND the Akito/Hana friendship too! Yeah I know it’s not a Big deal but I absolutely love the little glimpses of their friendship and it’s very important to me so I’m disappointed over them not including the ‘Ah-chan’ scene… (It was kind of weird that the show sort-of implied Hana and Kazuma got together too cause that’s… not the vibe at all from the manga… oh well.)

Most people I’ve seen generally only bring up season 3 regarding the cuts/rearangement because it’s the most obvious and the biggest offender, but I personally think there were already problems with season 2 and 1. At first glance I didn’t have much issue with some of the rearrangement, because early Furuba can indeed be pretty episodic, but thinking back on it as a whole I think it might’ve been better to leave some stuff, like Hana and Uo’s episodes for example, to season 2 (I do wonder if they did this specifically so the reboot would offer original content and differ from 2001 early on...) and cut off other not-so-important things from S1 & S2 — because as a result season 2 kind of suffer a bit by being The Yuki Season, which, for as much as I love Yuki, did end up being a bit annoying and made his development feel less natural and gradual, as well as the fact it sidelined the other characters a little and left them with not much conclusion in its final. So this added to how much they ended up cutting in season 3, it makes the show as a whole feels really unequal. I think they did overall a good job in season 3 with what they had, and they really nailed some of the dramatic and Kyoru moments (the sheets scene, cliff confrontation and post-hospital confession were practically perfect), but it is a shame that it ended up as an extremely marathoned emotional roller-caster rather than a more well-paced watch that we would’ve had if it had been 20 or so episodes. (I know others argued that season 3 was what it was because there wasn’t enough content left to cover for 22 or 24 episodes, but I disagree and even if there weren’t, it would’ve been the perfect occasion to add original episodes then. But I think it was more of a budget and Covid issue personally.)

But anyway, all of this isn’t actually what I’m the most annoyed with (and YES that’s a already a lot lmao), those are stuff I can live with, but like I said earlier the most problematic is what they cut off from Tohru’s character. And that indeed includes her parents’ backstory.

So, just so I get this out of the way; yes, I do understand why people were relieved to not see Kyoko and Katsuya’s relationship play out on screen, and yes the age gap and teacher-student thing is creepy and I do kind of wish it hadn’t been written that way. (Though I was a bit amused by people who thought we didn’t get the backstory because of the questionable age gap when, uh... you know I very much doubt the anime industry has an issue with that. Like, to start with, we wouldn’t have had Uo and Kureno’s romance if that was the case (even if Uo and Kureno is less problematic, it’s still the same basis of a underage high school girl/20+ adult man relationship), and second there was a literal romcom anime about a high school girl and an adult man that was broadcasted at the same time as Furuba season 3 lmao. So nah, it wasn’t there the problem to them, it was just time and episode restriction, which was pretty much confirmed with the announcement of the OAV focused on them.)

So, Kyoko and Katsuya is definitely Problematic and I agree on their relationship being uncomfortable; however, I’m a bit baffled that people were literally cheering on not having that part in the show, because it is... it is not just like a small bit of family trivia, it is Extremely important and actively essential to Tohru’s character and Fruits Basket’s themes and narrative as a whole. It’s very important to understand Kyoko’s character, of course; to humanize her and finally present her as a very flawed person and not just the idealized mother that Tohru project upon her, and it is extremely important simply to understand Tohru herself as well; to understand where her way of thinking, her trauma and attitude stems from, and this in a way that just isn’t possible to see with the little fragments of that flashback we got or the bits of Kyo and Kyoko’s interactions.

See, Tohru’s character is principally constructed around two things; her grief over her mother and her almost-pathological selflesness and people-pleaser needs that comes from her abandonment issues and loneliness, and her arc is very much about letting go of both of these things and finally moving forward and letting her life change. There’s this perception of Tohru I see sometimes that she’s not a very interesting character especially compared to others like Yuki or Kyo, or that she ‘‘stays the same kindhearted, naive girl from start to finish,’’ and while I deeply disagree with this I know where it comes from. The thing with Tohru is that she is firstly an extremely emotionally repressed character, and so a lot of her depth and development is made through small, gradual details scattered throughout the manga. It’s done in such a way that except for some obvious scenes those small, apparently insignificant moments are easy to miss or disregarded, and unfortunately it is a lot of these details that the 2019 anime cut, or rearanged in a way that feel less impactful or makes less sense; such as, like I pointed out earlier, her conversation with Ritsu after his suicide attempt. As I’ve seen others point out, this result in altering Tohru’s portrayal and rendering her character mostly about her romance, undercutting and downplaying all of her small, subtle character moments and developments, and miss a bit the second part of the story where the narrative actively challenge the ‘savior/therapist/mom’ that other characters and Tohru herself projected upon her.

And as a result it also means undermining things like her parallel and relationship to Akito, which idealistically should’ve been slowly built up throughout the last season but because of how rushed season 3 was in the end felt a little flat. (Akito’s character in general had some issues also because of the unequal pacing and rearranged scenes, though admittedly I think this was also an issue present in the original manga.) Kyo’s character and his romance with Tohru is the one element that managed to get out of this mostly unscathed (although Kyo also does suffer a bit from it), but because of what was removed from Tohru’s character it still inevitably impacted them by making their characters as individuals lacking. It’s not like it is a complete failure, mind you; I think the anime at least did a decent job at showing Tohru is Not Okay even at the beginning in season 1 (they certainly did a better job at it than the 2001 one lol) and managed to roughly portray her issues well enough overall, but it is just… lacking in the subtlety and nuances that, to me, makes her character and writing really special and unique.

(This post explains what I’ve tried to say here in a much more eloquent and better way that I ever could, and this all put into perspective what I basically love so much about Tohru and Fruits Basket in general.)

And, you know, it would’ve been sad but comprehensible with any other character, but here we’re talking about the story’s literal protagonist, which is why it is the part of the adaptation that makes me feel the most bitter. Tohru and her story is truly amazing and well-written, the thing I was looking forward to the most with this reboot — and while I do understand the episode restriction and I do believe they still did their best with what they had — her arc still deserved to receive a full proper adaptation, not a kind-of-half one.

So, yes, I am at least glad they’ll adapt Kyoko and Katsuya’s story in OAV, but the fact that it will never be included in the actual main narrative is still actively detrimental to it, and it will never have the same effect that if it had been played out before the Kyoru sheets scene where it should’ve been. (I hope they also won’t cut the fact that their story is narrated by Kyo, because that is also a very important detail for both Kyo and the story, but I have the feeling they will…)

Welp, that was quite a long, messy rambling. Not sure if anyone will actually read all of it but if you did then congrats lol. I feel in the end I’ve been really harsh and negative with the reboot… I do love it a lot! If someone asked me I would wholeheartedly recommend it (though I guess I would still argue to read the manga first if you really want to experience the story in all its nuances). I think they truly did an impressive job — even with season 3, which a lot of its episodes were beautifully done and did make me tear up a few times lol. I’m just sad it couldn’t actually offer a better, more nuanced delivery of the story’s depths and of one of my favorite manga protagonists that means a lot to me. But that’s an adaptation that so many fans wanted for years and I’m happy and grateful it’s here cause Fruits Basket deserved at least that much!

[dudewantscupcakes]

Calling it right now: Luka will sacrifice himself for Marinette/Ladybug in the “Miracle Queen” finale.

Was thinking about this theory way too hard on my Sunday afternoon, and felt the need to share the pain with Tumblr (you’re welcome!).

Spoilers (for Love Eater/Heart Hunter and Kwami Buster) and pain under the cut!

It’s already been well-established in the prior episodes that Marinette relies on Luka for emotional support (see “Captain Hardrock”, “Frozer” and “Silencer”), and some have pointed out this moment in “Desperada” as an indication that Luka has caught onto Ladybug’s secret identity:

I firmly believe the interplay of Luka and Marinette’s relationship, as well as this possible identity suspicion in “Desperada” serve as foundation for what’s to/has unfolded in the season 3 finale. This, what we’ve seen in “Love Eater/Heart Hunter”, and the alleged fact that the Miraculous crew were “moved to tears” by the final episode all point towards this conclusion: something tragic will happen in the finale, and they’ve developed Luka as the perfect martyr.

Disclaimer: Before Luka fans get mad, please understand that this is not a Luka hate post. I’m also a Luka fan, and I want nothing but the best for my guitar playing, slightly cheesy, teeth-rottingly sweet boy. But the (unfortunately shallow) character arc for Luka seems to foreshadow nothing but bad things for his future :( I hope I’m proven wrong when the finale airs in December, but until then, I am convinced bad things will happen to him.

Ok, let’s start from the beginning. “Love Eater/Heart Hunter” (I’m going to call the episode Heart Hunter from now on) starts off with Marinette’s narration, and it’s interesting to see who they choose to focus on the most during her monologue:

“And some have nothing to lose”, Marinette narrates as we see a happy Luka. He’s humming what is likely one of his drafts of Marinette’s ‘melody’, looking cheerful as usual.

What do we cut to in the next scene?

We all know that Marinette is (almost unrealistically) superhuman when it comes to multitasking and coping with pressure. But we are also reminded at certain points in the series that she’s only human. Despite her ingenious plans and effusive energy, she also makes mistakes and sometimes needs help from others. This scene where she trips while she’s carrying a stockpile of boxes for her parents (bless her soul) is a perfect microcosm of what the writers are trying to convey with Marinette’s character design: she often carries more on her shoulders than she can handle.

And guess who appears to help her out?

As I’ve mentioned before, from the storywriter’s POV, Luka serves as emotional support for Marinette. His prior development in “Silencer” showed just how far he was willing to go for Marinette’s happiness: even though he was controlled by an akuma, the passion and devotion he felt for Marinette was all from him. And this scene in Heart Hunter is a reminder of his ‘role’ when it comes to Marinette. He is her support.

Notice how the frame also includes the guitar in his basket. Luka is not a man of many words, choosing rather to express himself through music. In a way, his guitar is his soul, the medium he relies on to communicate his emotions – especially towards Marinette. The scene focuses even more on the guitar as he uses it to strum a song for Marinette, which becomes important at the end of the episode.

But before that, we get this adorable sequence:

Luka gives her a helmet and drives her to the hotel. Marinette hangs onto him from the back while wearing said helmet. Why include the helmet sequence? Other than instilling a message of bike-riding safety (Which is actually very important! Falling on your head without a helmet sucks, not that I’d know.), I think the animators were trying to hint at something else. Keep reading.

The rest of the episode unfolds badly for Marinette. She third-wheels on Adrien’s date with Kagami, sees Cat Noir growing distant from her, and suspects that she’s put Fu in danger. It’s a lot for person – let alone a teenager – to handle, and cracks start to form in her façade of nonchalance.

Who appears again when her stress is at its worst?

Other than the obvious fact that Luka comes to the rescue, let’s note how the guitar is not only a part of the frame this time, but its visual focal point:

The animators really want us to focus on that guitar, huh? If you’re still skeptical, guess what happens when Luka walks over to Marinette.

His bike falls over, the camera pans over to the guitar (again!) falling along with the helmet. And they’re both conveniently placed at the dead center of the camera shot. Why focus on the falling bike and the scattered items? Because they’re supposed to tell us something.

They fall when Luka loses his grip on the bike as he walks over to comfort Marinette. It shows how focused he was on comforting Marinette, prioritizing this over salvaging his items from the fall. As I’ve said before, Luka is a passionate, devoted person. And he feels these emotions for Marinette, almost putting her on a pedestal of sorts for the sake of making her happy (letting her go after Adrien in “Frozer”, resorting to criminal acts for Marinette’s sake in “Silencer”, etc.). This scene is a perfect visual illustration of the extent Luka is willing to go to for Marinette’s sake. He’s willing to ‘take the fall’ for her when it comes to making her happy.

The guitar is an obvious symbol of Luka himself, given his penchant for the instrument. But what about the helmet?

This scene shows the answer. Luka is giving her protection and will continue to do so into the next episode (hence why the episode ends on this scene). At this time, he’s protecting her in an emotional way, literally shielding her from the rest of the world as he embraces her and lends a listening ear.

The episode concludes with a shot centered around Luka, and I think that’s something significant to note. Heart Hunter starts and ends with shots focused on someone who honestly wasn’t that instrumental to its plot. Why? Because Heart Hunter is only the first part of a two-parter finale, and these shots serve as foreshadowing for Luka’s importance in the second part.

I mentioned before that Luka may suspect Ladybug being Marinette, and this is the perfect place for the writers to tie that back into the storyline. Marinette has just been driven over the edge due her thinking she has failed as Ladybug, and Luka is offering to listen to her problems. Whether Marinette will choose to disclose her identity in the process of alleviating her anxiety is admittedly still uncertain. But given how the finale provides the perfect opportunity for this drama to go down (see my comments about the crew’s reception to the finale) I am thinking that Luka will be let it in on Marinette’s secret in the next episode.

This, along with the consideration that Luka has already wielded a miraculous, makes me think that Luka will hold a significant, protective role in the upcoming story: a tragic hero’s role. Luka’s altruistic characterization, as well as Heart Hunter’s unsettling imagery point towards the possibility that he’ll put himself in danger for Marinette/Ladybug’s sake.

My shot in the dark is that he’ll attempt to wield both the ladybug and cat miraculouses in order to defeat Hawkmoth and Mayura; who may attempt to use the miraculouses they’ve just stolen from Fu. Marinette has been shown to be able to handle using multiple miraculouses, but it’s also been explicitly stated that this is a dangerous practice that requires physical and mental fitness. I am not so sure if she meets the latter requirement at this point in time due to the events of Heart Breaker, so Luka may offer to help her out. And she may let him help her.

Even though Marinette was successful in using multiple miraculouses in “Kwami Buster”, we also saw how exhausting this was for her. I can’t even imagine what doing the same would do to Luka, especially if their battle against Hawkmoth/Mayura is prolonged (as they are always in finales). My guess is that Luka will suffer consequences similar to Emilie’s, going comatose as a result of misusing miraculouses. For the writers, this is the perfect hurricane of drama needed to stir up the fandom but not jeopardize their future seasons/the love square: have the secondary love interest find out Ladybug’s identity, and then remove him from the equation once and for all by having him make the ultimate, tragic sacrifice for Ladybug. After all, he has “nothing to lose”, right?

Again, this is not a Luka hate post, and I want to make that abundantly clear. I personally hope I’m reading too much into this and that I’m proven wrong in December. But how the writers have characterized Luka so far in the series and in Heart Breaker makes me really anxious. :(

Prayer circle for Marinette AND Luka.

[tetrakys10]

Sweet Elite episode 9

It’s Halloween at Arlington academy, and we get a nice, lighthearted episode to make up for all the angst we went through lately. Long post below the cut.

The episode starts during preparations for the official Arlington Halloween party, you have a chance to ask someone to help you with putting up some decorations. Our favourite senior shows up to explain that this person will be the one we spend most time with during the episode. Whatever LI you chose, you have a chance to get to know them better and raise your infinity meter.

The following day we notice Ellie, Tayler and Tegan acting strange, we have a choice to follow them or not, not sure what happens if you chicken out, but if you go ahead you find out that they are building a robotic Arlingtonator to scare Tadashi on Halloween.

Afterwards, scholar suddenly remembers that they don’t have a costume yet and it’s very late for last minute shopping, so they end up buying a simple witch hat online. I don’t know if this changes between male and female scholar, but my two girls look really really cute.

(The one on the left is Tetrakys who is romancing Axel, the one on the right is Nyx who is on Tegan’s route.)

Then we go back to class, science class specifically, and realise that we don’t understand what the teacher is talking about and we need help. Luckily, depending on the person you chose to spend time with, someone will come to your help and organise a study group where your chosen crush will also be present.

Now, allow me to digress for a moment.

---

I don’t like when my scholar proves to be less capable than the others, she is a scholarship student, she should be smarter. While on Tegan’s route this part only slightly annoyed me but I soon got over it, on Axel’s route it was worse. Because, firstly, Tetrakys is in the science department, so not undertanding the science lecture and needing help is more serious and I would completely freak out. Second, the person who came to her rescue was... Claire. FREAKING CLAIRE. I hate Claire. Ok... I don’t hate hate her, but she really got on my bad side for multiple reasons:

1) The first time I played I was trying to pursue Tadashy, I didn’t know that, when the meter is the same, you get the illustration of the first person in aphabetical order. Which was... Claire.

2) Scholar was amazing during the department competition, she did a great interview, came up with the best idea and saved the day when things went downhill, and she ended up third place behind effing Claire who, of all things, was spending her time MANUALLY COPYING her notes for her classmates instead of scanning them.

3) When we were all helping Tadashi and people where looking for someone to help him write his speech I thought that it was finally our moment since our contribution that far had been to just buy computer parts online... and instead... they picked Claire! For the sole reason that apparently everyone loves her...??? We nailed the interview in episode 4!

And now, Claire again saves the day coming to our rescue using her superior intellect to explain the lecture for us...

It’s clear we will never be best friends.

---

Anyway, moving aside from my dislike of a 2D fictional character, we at least end up spending a bit more time with our crush, and even see some teasing from the other characters pointing out how that person was excited to have us in the study group.

Following this, we are asked to join a meeting with all the LIs except Tadashi, where Ellie explains that they have been organising a secret party and we are going to trick Tadashi to join it. One group is going to attend the official Arlington party and get Tadashi away with an excuse, another will stay at the dorm and prepare things. Scholar is always part of the kidnapping party.

While going back to the dorms we assist at a conversation between Karolina and Neha talking about an important fashion show that is going to happen soon at Arlington, a hint to the next plot I guess, probably Neha and/or Karolina’s arc.

Then it’s finally time for the party. We wear our hat (first illustration) and go to the gym. Once there we manage to take Tadashi away saying that we saw the Arlingtonator luriking in the dorms corridors, Tadashi believes us because Alistar is there too. We see Tadashi trying to put a brave face and not show how freaked out he actually is, we take him to the dorms and at the right time the Arlingtonator appears, scaring the crap out of him. Everyone laughs and the real party can finally start. They put Tadashi in a Pikachu onsie and crazy makeup

he is a good sport and lets people do whatever they want to him (he must be really greatful for the help everyone gave him during his whole ordeal). This is where we get the second illustration depending on the group we chose to spend time with.

Then we are told (but we don’t see it) that more time goes by chatting, playing, doing tarots, and finally telling scary stories. We see only the last bit of it before we hear some noises from the corridor, it’s the custodians who are making rounds. Time to end the party and rush back to our room. Before we can close the door someone burges into the room right behind us. We wait in the dark for the custodians to go away and then we find out that it’s the LI we chose to spend time at the beginning of the episode. There’s a cute scene between the two, then they leave and the episode ends.

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What I liked

I liked the episode in general, I think we needed something lighthearted and fun, and there were lots of funny moments there. I loved how everyone ganged up on Tadashi because he is the perfect sacrificial lamb 🤭🤭🤭 but you could tell they were also doing it for him, to make him have fun and distract him after everything he had gone through, and he appreciated it. That’s real friendship.

I also liked that it feels like the company really listens to their players’ feedback and takes it into account. There were two main problems that I had found in the past few episodes: the fact that we were spending very little time with our LI, not advancing the relationship, and the fact that we were forced to spend time with all 10 of them equally, again reducing the amount of time with the characters we really want to focus on. This time they made up for both, by chosing our crush at the beginning we were able to spend more time with them and with just a few selected other characters. No one is forgotten, we eventually meet and talk to everyone, but it doesn’t feel like the time is equally shared and the game feels more focused and with a proper direction.

Another thing I really liked were the costumes. They were so damn on point. For everyone. They really capture the essence of the characters and I love when a game is able to stay true to its characters’ personalities even with the little things. And they all looked so damn good. Alistair as a firefighter?? HELLO MISTER! Raquel as a cheeky pirate, Ellie as a deadly Alice and... Axel 😍 Axel was some kind of modernised version of the Phantom of the Opera (I think) and HELLO??? This is one of my big bias, he looked so good 😍 I have only one complain: he took the mask off too soon 😭 he should’ve worn it the whole time 😭 I don’t care that it was too hot, it was hot in other ways too if you know what I mean...

One last thing I’d like to add is that I think the art was really pretty. I am totally useless when it comes to art, but to my ignorant eyes it looks like the artist is making lots of progress.

What I didn’t like

There’s only one thing, actually, and this is probably just a matter of personal taste. I thought that the writing lacked heat when it came to the romantic parts. I think that it was pretty good with comic and fluffy moments, but there was little passion. And I know this is a game aimed at a young audience so that’s why I said that maybe the problem is me, maybe I’ve just outgrown this type of games, but I also think that you don’t have to go all bang bang to describe heat between characters. Scholars says multiple times that she feels attraction towards the LI, and I read it but I didn’t feel it. I’m happy that I waited to play Axel’s route before making up my mind, because that’s actually better. And yes, Axel is more forward than Tegan, so there’s that, but it also felt like Axel’s romantic moments were more developped than Tegan’s as if the writer was more interested in him, if it makes any sense. However, even with Axel, I think they could’ve pushed more.

This is the first time in a long while that I’m in the mood to rewrite the scene of a game the way I have it in my head, maybe this will help me get out of my writing slump.

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Anyway, all in all, I’m pretty happy. Looking forward to episode 10!

[fipindustries]

list of comics i made so far

i already shared the list of all the novels i tried to write throughout my llife so i see no reason why not to do the same with the comics i tried to work on. no i should clarify, with my lists of novels there was a clear cut distinction between what was a novel and a short story so to parse one from the other was an easy task. it should be known that i wrote hundreds of shorts stories that i havent shared with anyone. now a similar situation occurs with my comics, i have done hundreds upon hundreds of little comics, short jokes, little skits and short lived strips through my life, so in order to give this list some weight and not make it longer than the bible the criteria i used was that it had to be something i did on a regular basis or that tells a self contained story with a beggining middle and end.

now without further ado, lets begin!

spike Vanderville (age 7)

you can tell i was way more into comics than i was into novels from a young age. done with pen and folded paper, it was the story about a young kid called spike, whose design was heavily inspired by bradley from sticking around, who had magical powers which allowed him to manipulate reality. it was a mix of harry potter and a series of illustrates short stories that came in a magazine in argentina. his best friend was a scarecrow with a pumpkin head that he had brought to life, his archnemesis was a fat bully.

curiously enough i was so passionate about this project even though i had no idea what i was doing and no talent that i actually did like three full colored issues of it. my family was really proud of me. sadly those comics are completly lost to time

andrew and the monkey (age 10)

this was the classical story about a boy and his best friend the talking animal. one page comedy strips done in pen and paper. nothing too clever, just a way for me to try lame jokes mostly stolen from spongebob squarepants. not much else to it. i tried to do like a revamp in 2014 but it was short lived, as you can see the jokes didnt get any less lame

FIP industries (age 17)

mostly done in digital. yes as you can see fip is something that has followed me my whole life in quite the variety of mediums. there were as a matter of fact multiple attempts to make this comic a real thing but time and again they would peter off as i saw that my skill was just not up to the task. i think i have talked more than enough about fip industries on this blog, one interesting thing is that if you follow the link you will come across a lot of proto ideas that i had before they cemented and took their definite shape in the novel (and even after the novel i kept retconning and retooling things over and over again, fip industries is an ongoing thing that will probably last my entire lifetime)

Disregarding Reality I (age 20)

the first iteration of disregarding reality, a humorous strip done in pencil and paper, a fairly short lived affair, lasting no more than 3 months. the entire premise of the comic was an MRA activist and a feminist live together, they are friends, they argue a lot. remember 2013 guys? back when this whole politics bullshit truly kicked off online? this was before gamer gate, mind you. but by that point i had seen more than enough of it on tumblr and i was like “someone should do some scathing commentary with wit and penache” and that someone had to be me. mainly inspired by commics like f@nboys and el goonish hive and a thousand billion others that were so popular back in those halcyon days.

i got bored of it pretty quickly and it wouldnt be until three years later than i would finally decide to re-start the project but until then...

Strangers in the forest (age 21)

here comes a rather productive era in my ouvre, ink and paper, based on a short story i wrote, its about an eldritch monster pretending to be human and a ghost girl, killed by her father. they have a dispute because the monster wants to eat the corpse of the girl but the ghost doesnt want to give up her bones because its the one thing that tethers her to the mortal plane. they eventually resolve their dispute. by this point i was actually, unironically trying my best to do comics which i felt looked professional.

Song of a nightmare (age 21)

another one based on a short story i wrote. ink and paper, a private detective wakes up in the middle of the night and sees a mermaid lying in bed next to him. he spends most of the comic trying to figure out how the hell is this possible. still one of my favourite ones and certainly one of my family’s and friends favourites as well. a rather poetic tale, strongly inspired by argentinian fiction and their propensity towards magical realism, i was reading a lot of cortazar back then.

Aika (age 21)

as you can tell i was on a fucking roll that year. ink and paper, this was a story based upon a simple and basic idea that i had in my mind for years and years. i always liked the concept behind the movie “the kid” where bruce willis mysteriously comes across himself as a kid. so of course one day i came up with the idea, what if you recieved a visit from your future self... but she was a woman?

this is probably the most aggresively trans story i ever wrote in my life, it is literally about a guy realizing they are trans and breaking down over it. here is the giant kicker, i did not realize at all what i was doing. i was completly unaware of what was going on here, i was still deep deep in the closet and not even realizing i was there. it really is astounding the honesty and the rawness with which i wrote this comic and it went all over my head. a perfect example of “im such a great ally lol”

oh also there is time travel i guess. my main impetus (beyond whatever my subconcious was forcing me to do) was my desire to make a complete clusterfuck of a story, i was a huge fan of homestuck, i had read fleek and demon, i wanted to do my own take on a hypercomplicated time travel puzzle plot. other things came out on top of it but i didnt noticed them. fucking hilarious

Hello Agatha (age 21)

a comedic strip about a wacky pixie dream girl having wacky adventures with her wacky friends, one of which is a man with a toilet for a head. what a gut buster, what a knee slapper!

there is not much to say about this one, wacky surreal comedy was always my favourite and so time and again i would try my hand at it but it is surprisingly hard to do!

The /co/ ventures! (age 20 - age25)

an ongoing project done in multiple mediums. i think i said more than enough about this in here and here. it was me practiscing comics, practiscing my humor and adding my tiny grain of sand to the 4chan culture. i am proud to say these comics were actually very well liked there and that i would be recognized without a name or signature of any kind, just on the strength of my style.

the vest kind of madness (age 22)

probably one of the projects in which i put the biggest amount of effort to make it look professional. traditional inks and digital colors. a crossover that i cant believe never happened in comics considering how obvious it is. Rac Shade, the changing man and delirium of the endless, the two flagship vertigo characters associated with madness. clearly a match made in heaven.

to this day im flabbergasted i seem to be the only one to think of this.

Disregarding Reality II (age 23)

another work where i have already spilled rivers of bytes explaining my thought process behind it. after having a no good, terrible, very bad day, finding my self aimless and without purpose, deep in denial and depression, i decided to give my self a big project to have something to get me out of bed every day. these three guys came from the depths of my mind to save me.

this time leaning a lot more on silly humor and surrealism than political commentary, still insanely proud of how much i managed to make this last, almost three years, well over 200 pages! and in here i found the inspiration and the creative energy to tackle all sorts of diverse projects of which we are about to see all about.

Mama Bird (age 24)

my masterpiece.

by far the best comic i ever did. a kid with a bird for a mom. hilarious, touching, heartbreaking. it was a concept that i had come up with when i was 21. back then it was supposed to be exclusively a humorous comic strip but then i found a dramatic angle for the story and that was when everything clicked into place. that was when i realized this was a comic i had to do. and i did it. it took me five months but it was well worth it. still insanely proud of this one

Soft boys (age 25)

a weird experimental little story where i decided to sit down and deconstruct one of the most popular superpowers. super elasticity. more akin to me just mashing my toys against each other than me trying to tell a serious story. i am actually really happy with some of the art here and some of the sequences presented. particularly the final one where a brick joke twenty pages in the making finally pays off.

Hexen Snatch (age 25)

a semi spinoff to my novel FIP industries, we focus on a side character that managed to survive after the events of the novel and how they’ll manage to survive further beyond that. insanely soaked by the magical world of pact by widbow i wanted desperatly to share my own take on magic, every page is accompanied by a little text where i expand upon the lore and the way magic is supposed to work on this world. i really like the prose on those snippets and the ideas they work almost more that the comic itself with which i was not happy at all when i was working on it. i didnt like the character design, i didnt like how the art in general was coming out, i didnt like the pacing of the story or how superficially we were getting to expore this world in the comic proper. i had to take a very long hiatus just to accumulate the will to finish the comic and once i did i feel it really petered off without much of a satisfying payoff.

on some level i blame the exhaustion and frustration that i came out of this comic with for the fact that i ended up quitting disregarding reality soon afterwards.

Maxplosive (age 26)

another project that has followed me across multiple mediums. came up with an idea for a videogame back in 2015. saved it on the back pocket for a while, used it as a story within a story on my novel fan.tastic, practisced a couple of animations with the characters and eventually decided that, if my skills at videogame making were not enough, i had at least more than poven myself as a comic artist so maybe that was the definitive medium in which this idea would have to exist.

the original idea was to tell the story in two parts, the first half would introduce the character and the videogame as if the comic was a playthrough of the game. all fun and childlike and innocent. then the second half was meant to explore the life of the main character as an adult, how being “a videogame protagonist” had ruined her body, her mental health and her life. i tried all sorts of weird stuff with the format here, using reciclable assets, static camera angles and generally presenting the whole thing as if it was a videogame.

sadly the project got too big for my breaches, i was fucking exhausted back then, swamped with a bunch of other projects, my job, other responsabilities, unsatisfied with the story and with no idea where to take it. eventually i got tired, decided to skip a day, then the day became a week and then the week became a month and by then i had to face the facts, i was just no longer able to continue the comic. and so i quit not only maxplosive but disregarding reality all together.

i still did the occasional comic here and then but it wouldnt be until the very end of 20-fucking-20 that i was finally inspired to tackle a new project, my newest one, my last one....

Lapsarian (age 27)

an interesting experiment, i decided to do the whole comic in one sit and then post it chapter by chapter on a weekly basis. a surprising result of this was that i managed to do in one month the same amoung of pages that would have taken me 5 months back when i started disregarding reality, is good to see that after al this time i still got it.

took me a while to get the hang of it again and find my own style once more but once i armed up it was smooth sailing for 40 pages all the way to the end. but what is this comic even about?

its... weird, with full disclosure and no shame, it is mostly a fetish story about big lizard creatures commiting vore. the milkman had already shown me that i could do those types of stories and no lighting would come from the heavens to strike me down so i said, why not as a comic? i like to think that beyond the fetish content it is still a decent story in its own right, an interesting feedback that i got from this is that people are suprised how earnest it is, one saying something like “this is the best pitch for a fetish that i was never interested in”

Conclussion:

looking back on this im surprised, turns out i was a lot more prolific and working a lot more regularly than i expected, in here are documented ten years of creative output that never seems to wane. it was fun to do the roundabout trip and see how my style, my technice and generally my work ethic evolved through the years. another nice thing to see is the multiple formats, the multiple tools and mediums i experimented with, i find myself constantly trying new things, new methods, new angles, new interesting ideas for how to make a comic (without even getting into what to make a comic about).

something i always knew about myself was that drawing is a fundamental part of who i am, it is something that just cant be taken away from me and that will always be a part of my life one way or the other, is good to see it so plainly, in black and white, on this list. here goes for what i might be able to do in the future