#but we are given some perspective to understand it better

[calliecopper]

Ian Gallagher Being His Own Person, and Why That's Controversial

A meta about Ian's story during his time away from Mickey, and the hate his character receives for it. Inspired by @dazzle02 :)

How many times have you heard somebody say that they skipped season 8 of Shameless because Mickey wasn't in it? How many times have you heard somebody say that season 7 is only good during Mickey's episodes, or that the story is boring without Mickey in it, or that Ian's S6-8 arc was boring without Mickey? How many times have you heard somebody proclaim that Ian wasn't a good partner to Mickey?

Mickey is undeniably THE fan favorite character of the show, and with that comes a tendency for fans to defend him tooth and nail, even when he is in the wrong, and refuse to see any other points of view. Characters who go against Mickey in any way receive a harsh amount of criticism that sometimes is not fully justified. This applies even to Mickey's main connection to the story: Ian.

During season 5 and onward, some fans hold Ian's actions against him very harshly when I feel he deserves a bit more empathy. Of these, there are three main things people criticize his character for during seasons 5, 6, and 7 that I feel are not given proper analysis and thought by fandom.

Disclaimer before we get in because people feel very passionately about these two: Every interpretation of a character is entirely unique to each individual viewer, and these are just my opinions. This is in no way an anti-Mickey post, so as you read, keep in mind that any criticism toward him is not meant to make him out to be a bad character. Don't bite me.

Season Five: The Breakup of All Time

I think a large part of why people get so upset with Ian for the breakup is because of the growth Mickey experienced in seasons 4-5 leading up to it.

Mickey in seasons 1-3 is in extreme denial of being gay, and when he grows feelings for Ian, he lashes out and treats Ian like shit. Seeing Mickey's slow growth starting in season 3 brought interest to his character, and in season 4 with his major growth during his coming out, he becomes very compelling to a viewer. After all the angst that it took to get Mickey to finally open up, there's a natural desire to see that positive growth and relationship development continue. When Ian throws a wrench in that by breaking up with Mickey in season 5, people get upset, and they're going to direct that toward Ian because he is the easiest to blame.

There's the sentiment of, "Mickey came out for Ian, took care of Ian, and supported Ian when he needed him most despite his faults. Why is Ian leaving Mickey in the dust when he now needs him most?"

This is honestly not an unreasonable thing to feel when looking at things from Mickey's perspective.

But, when you take a look at Ian's character, and you really think of his motivations in that moment, his decision to break up is actually very understandable. Ian didn't break up with Mickey because he thinks Mickey is a bad partner or because he doesn't love Mickey enough. He broke up with Mickey because he thought that's what was best FOR Mickey.

I think comparing the breakup to their fight over marriage in season 10 to be an effective way to understand Ian better.

In season 10:

"How do you know you love me? Huh? How do you really know? I'm bipolar, right? I don't know who I am from one day to the next, and I can't guarantee shit. So why do you wanna spend the rest of your life with me?"

- Ian to Mickey, S10E9

Compare this to this conversation during the breakup:

"You used to love me. Now you don't even know who I am. Shit, I don't know who I am half the time... You don't owe me anything."

"I love you."

"The Hell does that even mean?"

- Ian and Mickey, S5E12

I feel that Ian's mindset is pretty similar in these two moments. In season 5, he is still grappling with his diagnosis, and he has no frame of reference of how a healthy life with bipolar can look. Everybody has been comparing him to Monica, and he himself seems to oscillate between thinking he is like her and not like her, so in his mind, he has nothing to offer anymore.

Then, in season 10, in his mind he proved himself right. He tried to get his shit in order, lived happily and found peace with his diagnosis, and then he fucked it up. He had an episode, and he lost everything he fought so hard to have. He has practically ruined his life because he DID what he FEARED he would:

"I hate the meds. You gonna make me take 'em?"

"You get fucking nuts when you don't."

"Are you gonna want to be with me even if I don't?"

- Ian and Mickey, S5E12

That conversation isn't Ian saying he isn't going to take his meds, given how in season six, he IS taking his meds. I interpret his above statement to be a warning to Mickey. Because Monica has tried to get on her meds before, has tried to get better, and has failed many times. IAN has gone off his meds willingly twice now. This is him telling Mickey, straightforward, "I do not like the meds, and there will always be a risk of me deciding not to take them."

And in seasons 8-9, he does exactly that. He goes off his meds, and he destroys everything he built for himself. That's part of the reason why he hesitates to marry Mickey in season 10, and part of the reason he breaks up with Mickey in season 5.

Ian views himself and his disorder to be a burden on the people he loves. He believes that Mickey will be better off without him.

"I don't want you sitting around, worrying, watching me, waiting for me to do my next crazy shit."

- Ian to Mickey, S5E12

Because Mickey HAS been doing that. Ever since he was diagnosed, Mickey has been watching Ian like a hawk, acting like a nurse, which frustrates Ian.

"Fuckin' nurse now?"

[...]

"I'm sick of your whiny, pussy crap. I don't need a fucking caretaker, alright? I need the shit-talking, bitch-slapping piece of Southside trash I fell for. Where is he? The fuck is he, Mickey?"

- Ian to Mickey, S5E10

But, of course, Mickey doesn't see it that way. To Mickey, Ian is anything but a burden he wants to unload.

"It means we take care of each other. [...] It means thick and thin, good times, bad, sickness, health, all that shit."

- Mickey to Ian, S5E12.

Mickey would do anything for Ian. He confronted his worst fear by coming out, stayed with Ian even after the infidelity, defended Ian after he kidnapped his son, and tried his best to understand a mental illness he had no prior knowledge about. Yet, Ian still won't commit to him. After everything, he still isn't good enough.

"I'm not saying never!"

"No, you're just saying you don't love me enough now."

- Ian and Mickey, S10E9

And Ian, meanwhile, thinks that HE isn't good enough for MICKEY. He has been diagnosed with a lifelong condition, one that he has seen ruin lives firsthand, something that will be a part of him for the rest of his life, and he doesn't wanna tie Mickey down to that life.

It's all one massive miscommunication.

Finally, I think the part that is the most confusing to fans regarding Ian's mindset during the breakup stems from his moments with Monica in S5E11 and S5E12.

Specifically, the parallels between these two conversations.

"Ian, there's always gonna be people that are gonna try and fix us. And you can never make those people happy. Like it breaks their heart just to look at you."

"Yeah, um, even Mickey now."

"He's your boyfriend, right? [...] I'm sure he means well, but you need to be with people who accept you for who you are. And they're out there. You should never apologize for being you."

- Monica and Ian, S5E11.

Vs.

"What the hell is wrong with you?"

"Too much! Too much is wrong with me. That's the problem, isn't it? Too much is wrong with me, and you can't do anything about that. You can't change it. You can't fix me, 'cause I'm not broken. I don't need to be fixed, okay? I'm me!"

- Ian and Mickey, S5E12.

Monica's interpretation of the relationship seems to paint Mickey in a negative light. "He means well, but he doesn't get it," or something along those lines. Based on her previous experiences with the diagnosis, she has come to the conclusion that people like Mickey or Fiona, who try to get them to take medication and are saddened by the diagnosis, are being controlling, and do not love them for who they really are. That's why she always went back to Frank; he actively tried to get her to NOT take her meds or get better, and did not encourage her when she DID try to get better. So, to her, being off her meds IS the TRUE version of herself, and the people who can not accept that do not accept her.

But I think, while Ian's lines parallel Monica's, that he does not think the same way that she does.

Toward the end of season 5, Ian seems to do a complete 180 from his previous statements on his similarities with Monica.

"You flushed your pills? You get thats a full-on Monica move, right?"

"I'm not Monica."

- Ian and Fiona, S5E8

Vs.

" [...] Cause they all say how alike we are."

"That's probably not a compliment."

"Uh... No, I think it is."

- Ian and Monica, S5E11

This happens in the wake of his arrest, after Ian's siblings talk about him to the military police. Many of their comments seem to hit Ian in a way that makes him feel misunderstood or like a burden.

Debbie: But he's been acting crazier for longer than that.

Lip: Yeah, at least this past year.

Officer: How would you characterize his behavior?

Debbie: Compared to how he used to be... He's different.

Lip: He'll go back and forth from, you know, being depressed, to, you know, incredibly wound up. I mean, he ran off with a baby for no reason.

Debbie: He almost hit me in the head with a baseball bat.

Fiona: Our mother was bipolar, so we know what it looks like. She put us through Hell, and- I'm not saying you put us through Hell, but when they're manic they can be destructive.

Officer: In your opinion, does he require medication?

Fiona: Yes.

Officer: Is he unable to care for himself?

Fiona: Sometimes, yes.

So, when Ian talks to Monica when they reconnect, Ian expresses loneliness and a feeling of isolation.

"I'm really glad you came, yknow? I just... I needed someone to talk to who... gets it."

- Ian to Monica, S5E11

When Monica tells Ian to not be ashamed and that she loves him for him, she is kind of acting like his Frank. The meds have been taking a toll, and recovery is so difficult that running with her and getting validation from the only other person who could "get it" is an easy choice to make. I think the combined factors of Mickey treating him so delicately, his siblings laying out his flaws so plainly, and his mother's open acceptance creates a feeling of bitterness or shame, and Ian is hoping to find comfort in his mother.

But it doesn't go the way he expects it to.

At the diner, he thinks that Monica is going to prostitute herself for money, and is relieved when she doesn't. It's likely he was thinking of his own stint at the Fairytale in this moment.

Then, he recalls a moment from his childhood that he does not look upon fondly, only for Monica to refer to it as "good times."

He meets Monica's partner and discovers he is an aggressive teenage meth dealer that she is helping to sell the meth.

I think Ian has a true moment of clarity during this. He had thought that he was vindicated, that everybody else was wrong, that they didn't understand, that Monica was right, and that he was perfectly fine just the way he was. But then he sees what Monica considers to be "a happy life."

"Ian, I'm finally happy. People like us, we can be happy. I love him, and that's the most important thing, to find somebody to love, right? Who loves you back for who you are. I want that for you. I love you. We're gonna be okay. We're gonna be okay."

- Monica to Ian, S5E12.

Monica's perception of life is warped. What she considers a good life is living in a trailer selling meth. Good memories are traumatic memories for those around her. True love and support is an aggressive teenage dealer, or Frank Gallagher.

A simple drive to Ian was a horrifying kidnapping to Svetlana. Doing a porn that was no big deal to Ian was a betrayal of trust to Mickey. Joining Monica and ignoring the calls of his well-meaning but ignorant family to Ian was a painful and worrisome disappearance to them. Ian's perception HAS been warped, and he's crashing back to reality, realizing that he has run off with MONICA, realizing that he can't continue down the same path as her, and needs to go home.

He's come to accept that he is bipolar. He's internalized what his family has kept repeating, that he is just like Monica, and looking at her living like this, believing that she is living well, is terrifying to him.

So he goes home, believing that he is just like his mother, and he's doomed to be a piece of shit. He goes back, and he breaks up with Mickey. Because he doesn't think that people like him can be happy, and he doesn't think he'll be okay. And that isn't something that Mickey can change. Too much is wrong with him, and Mickey can't do anything about it.

Really, it's just a matter of Ian operating under the "if you love them, let them go" mindset, and Mickey interpreting it as a rejection. It's the two of them both believing they are not good enough for the other and internalizing it instead of properly communicating.

TL;DR: Ian's breakup with Mickey in S5E12 is not done in a healthy OR selfish mindset. To him, he will do nothing but drag Mickey down, and in his unmedicated and clearly altered state of mind, he thinks the best thing is to let him go.

Season Six: Dating Caleb and Other Blasphemy

The first time we see Mickey in season six, it's behind a pane of glass in an orange jumpsuit.

Mickey had tried to murder Sammi, Ian's half-sister, and had been sentenced to prison for 15 years. It's established that Ian has not been to visit Mickey much and is trying to move on past that time in his life. But, upon being bribed by Svetlana, Ian visits, and during this visit Mickey asks Ian a question:

"You gonna wait for me?" - Mickey to Ian, S6E1.

And when Ian shows hesitation:

"Fuckin' lie if you have to, man, eight years is a long time." - Mickey to Ian, S6E1.

So, Ian replies:

"Yeah. Yeah, Mick, I'll wait." - Ian to Mickey, S6E1.

Before even meeting Caleb, fans absolutely tear into Ian for his decision to not commit to Mickey in this moment. They call it selfish, or out of character, or unfair to ice Mickey out when he is going through this difficult time.

But, let's look at it from Ian's position.

Ian has dealt with abandonment issues his entire life, with both Monica and Frank being unstable and infrequent providers during his adolescence. Throughout his relationship with Mickey, they had been separated on three separate occasions, one of which was entirely voluntary on Mickey's part. Now, due to committing a major crime, Mickey has been sent away for up to fifteen years. They would both be in their thirties by the time Mickey would be released, or close to it if he got out early, and that's not even considering that he was actively taking part in jobs / activities that could extend his sentence, like stabbing people.

Ian has dealt with recurring disappointment and abandonment his entire life, and throughout their time together, Mickey hasn't really established himself as stable.

Now, before you bring out the pitchforks;

"But Mickey was there for Ian and supported him through seasons 4-5. He grew as a person and proved he IS reliable."

Yes, that's true. He did undergo massive development that allowed him to be a better partner and more reliable person to Ian. But, canonically that period of time only takes place over a few months.

Mickey, for the better part of 2-3 years, was NOT a good partner to Ian. Multiple years of an unsteady situationship is not so easily forgotten. Yes, Mickey 1000% had valid reasons for acting the way he did. It's made very clear in S3E6 and S4E11 why Mickey hides his sexuality and lashes out when forced to confront it. But that isn't an excuse. His reasons for acting in a negative way towards Ian the first three seasons is understandable, but he went about it in a bad way.

Not to mention that, despite his growth, Mickey has just been sent to PRISON. No matter how you spin it, his decision to go after Sammi was NOT justified and does not necessarily bring forth confidence in his reliability and stability.

It's not unreasonable for Ian to not want to wait for over a decade for a man who has not always been the best for him. It sucks as a viewer who is invested in them, but Ian was not in the wrong.

Beyond (justifiably) selfish reasons, Ian also already thought that he was bad for Mickey, was worried that he would ruin his life, and with Mickey's justification for his torture attempt being that he did it FOR Ian, that Sammi had it coming because of what she did TO Ian, Ian probably felt responsible for that as well. There was probably a level of guilt in Ian from the whole situation, both for Mickey being in prison and for leaving him there.

But from his point of view, it's better for everybody to try and move on.

What really bothers me about this criticism toward Ian is the sense that he OWED Mickey his time and loyalty. Because Mickey had given and sacrificed so much for Ian during seasons 4-5, it's like people think Ian is then obligated to return that for Mickey, no matter what Mickey did. It's a very transactional way to view the situation, and it just leaves me with an icky taste in my mouth. Nobody owes anybody anything in that situation. Ian does not owe Mickey companionship, and Mickey did not owe Ian support when he got put in prison in season 9. Returning to Ian was Mickey's decision to make, and not a decision Ian was obligated to make in season 6.

Now, onto the actual "dating other people" part of the conversation.

For months, Ian has done nothing but get his meds on track while working at Patsy's, then at the janitors job on Lip's campus. During this time, Ian expresses having a very low sense of self-worth.

"He as smart as you?"

"No."

"Yeah, he's smart."

"Lip is the genuis of the family."

"So that gives you an excuse for not finishing [high school]? You seem plenty smart, and Dav's uniform doesn't really suit you."

- Ian, Lip, and Professor Youens, S6E3

And:

"This is it for me, Lip. This job. This is where I land."

- Ian to Lip, S6E3

Which Lip comments on in a very concise way:

"Yknow, he thinks... Being bipolar means he's doomed to be a piece of shit like our mother."

- Lip about Ian, S6E3

Ian feels no sense of purpose during these months. He feels he has no worth and that he is doomed to work a dead-end job and have no happiness. He thinks he is just like Monica.

That only changes when he witnesses an accident on the highway, and he saves a woman's life by pulling her out of a burning car.

This leads us to Caleb.

Now I'll admit, this is where I take issue with the storytelling, because this would've been a PERFECT way to segue into Ian's EMT arc, but regardless of what I personally think would've been better, the way it plays out in canon does actually still make sense for Ian's character.

After saving the woman from the burning car, Ian collapses due to smoke inhalation and exhaustion. A firefighter on the scene provides Ian with oxygen, thus saving his life. Ian immediately fixates on this particular firefighter.

Now, Ian has a very complicated relationship with feeling his emotions post his diagnosis. In season five, when he is numbed by his meds, the only way for him to feel again is through pain, via self-harm or starting physical fights, and sex. In fact, sex plays a major part in many aspects of Ian's life.

From the age of fifteen, Ian had been consistently subject to sexual abuse. He's been used for his body by countless men throughout his teenage years and has been oftentimes reduced merely to his sexuality and what he can provide to his partner. Even Mickey, in season 2, tells Ian as such in a panicked rage.

"You think we're boyfriend and girlfriend here? You're nothing but a warm mouth to me."

- Mickey to Ian, S2E8.

(No, I'm not saying Mickey sexually abused Ian. But he did contribute to the way we see Ian default so heavily to objectifying and sexualizing himself.)

So, due to this recurring trauma, Ian has a tendency to default to sex as the primary way of getting satisfaction, be it emotional or physical.

So, when Ian gets a rush of adrenaline from the crash, after months of that numbness, he chases the emotions in the most effective way he knows how.

Ian goes to the firehouse with cookies to give as thanks to the firefighter who saved him, but with a clear ulterior motive of getting laid. When he finds out that the particular firefighter (who happens to be part of the "gay shift" which is an odd writing choice) he saw on the highway is married, Ian meets Caleb. In this scene, they speak all of one line to each other when Caleb invites Ian to a firehouse softball game. The next time we see them on screen together, Ian acts very flirtatious toward Caleb, which sets forth their relationship.

"You ever pitch?"

"... Usually, but I'm open depending on what you're into. Where we doing this?"

"Follow me."

[...]

"Wait, we're actually playing softball?"

- Ian and Caleb, S6E5

I think Ian receives hate for this simply because he's expressing interest in a guy that isn't Mickey. Fans get the impression that Ian is moving on too fast or that his interest in Caleb is sudden or rushed. However, I think the rushed nature actually works to show Ian's intentions. In this moment, Ian is not really looking for a full-on relationship. Given how little they interacted thus far, the fact that Caleb wasn't even who Ian was originally interested in, and how Ian's comments consistently err on the side of sexual, its safe to say Ian was just looking for a hookup. In fact, it's Caleb who pushes so hard FOR the relationship.

Mickey, in a deleted scene, hooks up with an inmate right after talking with Ian. If Ian's relationship with Caleb had only been a fling or hookup, I don't think Ian would've been as heavily criticized. As it is, fans get upset at this relationship because it IS a relationship. They go on dates, Ian starts staying with Caleb, and really they seem to be very domestic.

But I don't think Ian was as dedicated to the relationship with Caleb as fans make him out to be.

From the jump, Ian seems uncomfortable with the quick-moving pace of it. At first he only seems interested in sex with Caleb, but upon the negative reaction that provokes, Ian conceded to going on a date with Caleb (which is a bit of a slap in the face to Mickey fans after Gallavich's ruined date.)

"[...] I was hoping to get my hands on your hose."

"Is that what this is to you? A fuck?"

"You say it like it's a bad thing. Come on, let's get out of here."

"No. I knew you were younger than me, but I thought you were a grown-up."

"Fuck. Okay. Okay. Hey, I'm into you, alright? I thought you were into me."

"I am."

"Then what's the problem?"

"I don't stick my dick in just any guy."

"What do you want, then?"

"Seriously? Do I have to spell it out for you?"

"Yeah."

"A date."

"With, like, flowers and chocolate and shit?"

"No, we could skip the flowers."

"Okay. You're on."

- Ian and Caleb, S6E5

(Side note, pulling a "is that all this is to you" after two non-romantic interactions is not just quick in terms of hookup culture, which Ian is more attuned to, but is quick in any terms. More on that later.)

During this date, Ian is visibly very uncomfortable. Some would chalk this up to him having never been on a date before, and the writing even seems to imply that,

"Okay, look, I have no idea what I'm doing. My last boyfriend wasn't much of a talker, his idea of a conversation was to insult me a bunch and then punch me right before we banged."

- Ian to Caleb, S6E6

but that's actually not true, DESPITE the writers forgetting that.

"You know, Mickey and I never went out on dates. Ned never took me out, Kash and I fucked in the back of a convenience store, and I don't think jerking off strangers in a nightclub counts, so..."

- Ian to Lip, S6E6.

He actually HAD gone out on a "date" with Ned in season three, where he was visibly less uncomfortable than on his date with Caleb. He also went to many loft parties during his time dancing at the club, wherein he blended in very well and was able to sorta chameleon himself with the northside crowd. I think the show wants us to believe his discomfort is from him "never having been on a date before" or being unfamiliar with a "slower" pace, but I think his discomfort actually would stem from him just genuinely not being interested in Caleb in a romantic way, and thus feeling awkward on a date that's in a more romantic setting (compared to his one with Ned, which was undoubtedly more sexual.)

I also think his discomfort stems from being completely out of his element. Ian has taken a massive hit to his confidence since his diagnosis, so his Southside roots bring about a bit more hesitancy in him than it might have before, and he may be less confident in his ability to chameleon. That's why, during the date, Ian shows discomfort with Caleb when he shows more "class" than Ian.

"Usually, I get a bunch of apps to share. You good with that?"

"[Uncertain hum] ... Appetizers! Sure, yeah, big- big fan of apps."

[...]

"You seem like a very pensive kinda guy. You an only child?"

"Uh, no."

"Brothers and sisters?"

"A bunch, yeah."

"Older or younger?"

"Both."

"What about your parents? Both still alive?"

"... Yeah."

"... Fantastic. I'm learning so much."

[...]

"Where I'm from, people communicate with their fists."

"Where's that?"

"Southside."

"Mmm. Hands of steel. Okay, so you're a street rat. A brawler."

"Is that a problem?"

"Only if you make it one."

- Ian and Caleb, S6E6.

Then, beyond their first date, we have the actual relationship to dive into.

Throughout his scenes with Caleb, Ian seems to oscillate between neutrality, discomfort, or mild enjoyment in the situations he finds himself in.

There's this interaction, for example, where Ian lets Caleb take charge in defining their relationship:

"So what are we doing?"

"Whatever you want, I guess."

- Ian and Caleb, S6E7.

Or this moment:

"What are you smiling at?"

"I like having you over here. What are you smiling at?"

"I like having a purpose."

- Ian and Caleb, S6E8.

Or when Caleb invites Ian out with his friends, and we see Ian slip into his chameleon persona, mirroring the petty mannerisms of the most vocal participant of the conversation, as well as avoiding diving too much into his personal history.

"You haven't told me which one is your ex."

"Guess."

"Old guy, pink sweater."

"How'd you know?"

"Ooh, a redhead, Caleb? Does his carpet match his drapes?"

"You're a good sport."

- Ian and Caleb, S6E8.

[...]

"If we had known you were bringing a middle school student, Caleb, we wouldn't have come to a place that cards."

"Oh, no, it's cool, I don't drink. I hear it makes your skin old and leathery."

"That's-that's how we're playing this?"

"Hey, you threw down first."

"Where you from, kid?"

"Back of the Yards."

"Local boy. What's your story?"

"Story?"

"Who you are, what you do, how did you meet this chocolate bundt cake?"

"Met him at the firehouse."

- Ian and Gregory, S6E8

[...]

"We like this one, Caleb. Don't we, Gregory?"

"I mean, If young, beautiful, and kind of a smartass is something to like, sure, fine, I guess we do."

- Caleb's friends about Ian, S6E8.

OR, in a deleted scene where Caleb expresses frustration at Ian keeping the distance between him and Ian's family, as well as Ian's lack of communication, while Ian seems unbothered or even perplexed by Caleb's frustration.

"So, where'd you sleep last night?"

"Home. Got done at three, told you I'd be late."

"Yeah, like nighttime late, not next day late."

"Well, I didn't wanna wake you, and I had to go back there to grab some stuff: clothes, towels..."

"Where's there?"

"Home, you mean?"

"Yeah."

"Back of the Yards."

"Right. You did mention that once. I still don't know where it is or who I'd call if there was an emergency?"

"Uh... my brother, I guess? Or my sister."

"Brother or sister. Okay. I'll just track down Ian Gallagher's brother or sister on the internet."

"I'll... put their numbers in your phone."

"Great."

- Ian and Caleb, S6E11 deleted scene.

OR any of the follwing:

When they go to get Ian tested for STDs, he is visibly uncomfortable having Caleb in the room with him.

He is only comfortable revealing his bipolar disorder if it is done in exchange for another secret from Caleb.

He isn't very comfortable sharing his past, only references his previous relationship in a lighthearted manner, and he only reveals his sexual history upon feeling pressured to do so, which he purposefully presents in a callous way.

To me, the entirety of Ian and Caleb's relationship reads as Ian's desperation for validation through sex, which leads to him putting up with a relationship he isn't entirely comfortable in or commited to or ready for. To me, it seems like he's truly just looking for companionship in any way he can get it.

Out of everything, though, I think what really gets to fans most about this storyline is the constant comparison of Caleb to Mickey as a means of demonizing Mickey.

Throughout the entirety of Ian and Caleb's relationship, there is a constant comparison between the two relationships, seemingly with the intent of painting Mickey as a horrible partner.

When Ian tells Lip about his upcoming date with Caleb, he remarks that he never went on dates with Mickey, which comes off as an unnecessary jab.

During his date with Caleb, Ian talks about his lack of effective communication skills, which reflects negatively on Mickey, to the point Caleb brings forward the idea of domestic abuse.

During the wedding that Ian attends with Caleb, Ian mentions Mickey's marriage to Svetlana, and he uses a tone that comes off as belittling the situation and how difficult it was for Mickey.

There's this line, when Caleb asks Ian to kiss for the first time:

"Can I kiss you?"

"I thought kissing comes after you've had sex a bunch of times."

"Ian, kissing comes whenever you want it to. Even now."

- Ian and Caleb, S6E6.

Then, there's Mandy stating that Caleb was better than Mickey.

"A hot black fireman. Also an artist."

"Upgrade from my brother."

"I miss Mickey, but uh... This new guy's nice."

- Ian and Mandy, S6E9

These near constant comparisons to Mickey are frustrating to fans, because it can often feel like Ian, or even just the writers and the narrative, are trying to belittle Mickey's character and reduce him to a one-note toxic ex, which completely spits in the face of the development that he went through. THAT is what is most frustrating to fans.

Because it's true that Mickey was not always the best partner. In real life, Mickey would be a walking red flag, and Gallavich would be undeniably toxic. But that applies to EVERY SINGLE CHARACTER in Shameless. That is the entire point of the show. None of them are particularly good people. They all do shitty things, but they all have compelling reasons for doing it. That's why we can look at these characters and feel connected to them instead of just absolutely hating them.

It's a really odd writing choice for a show that focuses on morally gray characters, or the idea that nobody in the show is really a good person, to decide to play moral high ground in this particular instance, and have Ian suddenly turn his nose up at Mickey's behaviors.

But is this really how Ian feels?

Because, as established, Ian is VERY good at playing chameleon. He is good at shaping himself into whatever a partner wants him to be. He mirrors his partners mannerisms, beliefs, and attitudes.

And Caleb, for all that the story wants to make us believe he's better than Mickey, is actually not the best partner either. Not just for cheating on Ian in season seven and then gaslighting Ian about it; he shows some toxic behaviors in season six as well, including being lowkey judgmental about Ian's Southside roots.

Take, for example, Caleb implying that the Southside is trash, but that he can see the beauty in Ian despite being from the Southside:

"That's my latest. I love to find the treasure inside the trash. Trying to find the secret life in things. What it wants to be instead of what it is."

"Is that what you're doing with me?"

"Good question. Can I kiss you?"

- Ian and Caleb, S6E6

(Which, funnily enough, this line from Caleb goes pretty against the sentiment that Monica had in season five, of Ian finding somebody who loves Ian for who he already is, as Mickey did.)

Or, for another example, Caleb judging Ian pretty heavily during the softball game for being "not grown-up." Simply because Ian expresses sexual interest in him above romantic.

"Cmon, let's get out of here."

"No. I knew you were younger than me, but I thought you were a grown-up."

- Ian and Caleb, S6E5.

Which, as I pointed out before, is really strange behavior. Participating in hookup culture isn't something that Ian needs to be shamed over. There's a sentiment of "Hooking up is beneath me, it's immature," to Caleb's tone, which is unfair. Now, he has reasons for this, that being his experience with getting HIV from a hookup who lied to him, which draws a pretty interesting parallel to Ian.

"Don't worry, guy I did the scene with said he was clean."

"He didn't use a rubber? Are you out of your fucking mind?"

- Ian and Mickey, S5E5.

Vs.

"Guy in college. He lied to me."

- Caleb to Ian, S6E8.

(Which I actually find to be a very interesting plot point and is actually a pretty good scene.)

So, while Caleb was not wrong to put forth a boundary by not hooking up, he was wrong for acting as if IAN was the problem in the situation. Not to mention, his behavior at the game is very strange when taken into account how little they've interacted thus far. He had understandable reasons for his negative reaction, but he went about it the wrong way. Sounds familiar, doesn't it?

Anyways, I could talk about the relationship between Ian and Caleb more, but that's not what the point of this is.

The point I'm trying to make is that Caleb, however covertly, expresses a negative or biased view toward the Southside lifestyle. And Ian, being the type to mimic his partners, follows along in that.

Ian already fears that he is going to be left. He is afraid that showing Caleb who he really is and not being the idealized version of himself will lead to Caleb breaking up with him.

"I'm enjoying it while it lasts."

"You think he'll dump you?"

"Well, I've told him I'm bipolar, and my family's screwed up, and he took it pretty well. But it's one thing to hear it and another to live it, so... We shall see."

- Ian and Mandy, S6E9

So, he chameleons. He makes himself the treasure in the trash. He distances himself from the image of a brooding, Southside street rat.

Because, after so long of constant pain and numbness during and post his diagnosis, Caleb is the first good thing he's found.

"I haven't been this happy in a long time."

- Ian to Caleb, S6E8.

And really, everything that I just talked about doesn't matter when you think about it that way.

No matter how dedicated or invested Ian was in his relationship with Caleb, it still provided him with companionship and validation, which as we know, is something that Ian has an unhealthy dependence on to find self-worth.

And I don't think Ian was wrong in searching for that connection simply because that connection wasn't with Mickey. He could've been well and truly in love with Caleb, and he wouldn't deserve some of the hate he receives for his canon actions.

It's easy to look at Ian's relationship with Caleb and get frustrated because of all the time that was put into Ian and Mickey's relationship. But beyond the instinctual negative feeling that comes with seeing Ian with anybody other than Mickey, his relationships outside of Mickey deserve to be analyzed and observed for what they actually do for HIS character, and not just immediately cast aside as unnecessary or ooc.

So, to summarize:

Firstly, Ian wasn't selfish for not waiting 15 years for somebody in prison. Whether he was serious about Caleb or not, Ian was under no obligation to dedicate himself to Mickey. Ian did not owe Mickey anything simply because Mickey was there for Ian when shit got tough. If they had been together, sure, Ian would've been a lot shittier for leaving Mickey alone. But as it was, they were broken up, and even if they hadn't been, Ian would've had every right to not want to continue seeing Mickey after his decision to harm Sammi, just as Lip was justified in not wanting to be with Mandy anymore after she ran over Karen.

Secondly, Ian dating Caleb wasn't bad for his character. In fact, I think their relationship in season six was actually a very interesting way to progress Ian's character and get more insight into his mind and how he operates.

Thirdly, Ian and Caleb's relationship deserves to be analyzed for what it is, rather than what it isn't. Just because Ian is not with Mickey doesn't mean that he doesn't undergo some huge development in this season, both in and outside his relationship with Caleb. Furthermore, Ian entering a new relationship gives us the opportunity to see more sides of his character, and as such the relationship should be analyzed as it's own separate entity, and not just as a hurdle in the way of Gallavich.

Fourth, Ian was not just waiting to cast Mickey aside to jump on the next dick possible. I've seen this criticism before, and when looking at his actual arc at the beginning of S6 and analyzing his general character, that's just simply not true. Entering a new relationship is not equal to immediately disregarding Mickey.

TL;DR: The hate Ian gets from this season mainly stems from "Ian date somebody aside from Mickey, bad Ian" without any further thought behind why he enters the relationship and what the relationship actually means to him. There is no separation in the minds of fans between Ian and Mickey, and therefore, Ian having experiences and an identity outside of Mickey is negatively perceived.

Season Seven: Putting His Own Wellbeing First

This one will be less long winded than the previous one, because I have less to say on it, honestly.

During the entirety of Ian's bipolar arc, it is pretty clearly shown that to maintain mental wellness, Ian needs stability.

When Mickey shows up and asks Ian to run away with him to Mexico, that's threatening to uproot every amount of stability Ian has managed to secure the past two seasons of the show.

I honestly don't see as much hate directed toward Ian for his decision to leave Mickey at the border as I see for his previous decisions. I'd say the main thing I actually see directed toward this season is just that Ian's story is boring without Mickey in it. Mostly because he enters another new relationship with Trevor after his relationship with Caleb, which really just follows the cyclical Shameless cycle of, "Don't know what to do with a character? Give them a new love interest!" But because I talked about the judgement for non-Gallavich Ian relationships above, I don't particularly feel like doing a deep dive into the Ian and Trevor relationship in this meta.

What I want to talk about relates to the Mickey Mexico storyline, though, and that's the hate other characters recieve for trying to dissuade Ian from going.

After finding out that Mickey escaped from prison, Fiona and Ian have the following conversation:

"What are you doing up?"

"Couldn't sleep. You ever, uh, think about about what would've happened if you'd run off with Jimmy-Steve?"

"Lying sociopath Jimmy-Steve? My life would be a nonstop psycho-thriller. I definitely dodged a bullet with that one."

"What if nothing ever gives you that same thrill again? Still feel like you dodged a bullet?"

"I don't know. Probably. Where's this coming from?"

"Things have been weird between me and Trevor since Mickey got out."

"You mean since Mickey busted out of prison and has got half the Chicago Police Department circling the Southside looking for him."

"Can't get him out of my head. Just trying to stop myself from doing something I shouldn't."

"You turned your life around. Mickey would set a match to it. You've done really great without him, and I'm really fucking proud of you."

- Ian and Fiona, S7E10.

I've seen this conversation criticized many times because of how "unfairly" Mickey is treated in this scene. But I truly think that nothing said in this scene was wrong, and Fiona was 100% right.

In the past, Fiona has definitely shown a prejudice against the Milkovich family before. Specifically with Mandy, Fiona seems to look down upon her and disapproves of the relationship between her and Lip. This on its own is unfair treatment and is annoying to witness.

But in this particular case, absolutely nothing she is saying is wrong or biased simply because Mickey is a Milkovich.

People take the line, "Mickey would set a match to it," and compare it to his behavior in late Season 4 through season 5, where Mickey is taking care of Ian, and say that Fiona is being untruthful or hypocritical. If Mickey had never been sent to prison, or even if he had just been released legally, and Ian was simply thinking about cheating on Trevor and getting back with Mickey instead of running away with him, then the criticism toward Fiona would be more justified. But as it is, Mickey is a wanted fugitive, and Ian running away with him would make Ian a fugitive as well, and WOULD effectively set a match to the life Ian had spent the past two seasons working toward. He would be giving up a career he worked hard for and fought to have, he'd be living in stressful conditions on the run, he'd have no support system, and he would have less ease of access to his medication. Running with Mickey would have been the wrong decision for Ian's wellbeing, and honestly, Mickey should never have asked Ian to go with him.

I think that many people have rose colored glasses on when it comes to Gallavich, specifically with Mickey, and that makes it harder to view these moments unbiased. But, looking at it objectively, Mickey was so wrong for asking Ian to come with him to Mexico. He KNOWS that Ian needs stability with his bipolar diagnosis, and he KNOWS that this would be a stressful life he'd be forcing Ian into.

Simply put, he's acting selfishly in that moment. Having your own interests in mind is not always a bad thing, but in this specific case, Mickey would have thrown a huge wrench into Ian's life is Ian hadn't made decisions in HIS best interest.

Again, I have less to say on this as I did other subjects, because to me it feels much more cut and dry. Mickey was in the wrong here 100%, Fiona was not being wrongfully judgmental toward Mickey, and Ian was not in the wrong for not going with Mickey.

After so long of seeing them apart, it makes sense to want to see them together again. So when Ian, again, is the one making the decision to end their relationship, fans are going to lash out at him and those around him.

But it's important to put aside biases and allow your favorite character to be in the wrong occasionally. Mickey is not perfect, and criticism against him, both from characters in the show and fans, is not unfounded nor unjustified.

TL;DR: Mickey was wrong for asking Ian to uproot his life and run to Mexico, and calling that out isn't defamation of his character.

To End This Yap Session:

Ian is by no means a faultless character, and he is not exempt from criticism both inside and outside of his relationship with Mickey. However, I often feel that the criticism he faces is for the wrong reasons, and not much contemplation or exploration is done on him as much as it is for Mickey.

I love Mickey. He's an amazingly complex character, and his relationship with Ian is one of my favorite parts of the show. But in being a complex character, he is also an imperfect character.

I feel that many fans get very protective over their favorite characters, to the point that anything that goes against that character's interests is labeled as bad, and any criticism toward his character is disregarded immediately.

In this particular case of Gallavich, I feel that post season three, fans often see things from Mickey's point of view without looking at Ian's as much. This meta was simply to give my own thoughts on Ian's most "controversial" moments among fans. Obviously this is mostly condensed to season six and his relationship with Caleb, which I feel is the biggest example of jumping to conclusions and only seeing the surface level of his character.

However, I would like to acknowledge that Ian is also an insanely popular character in the Shameless fandom. While he is misunderstood in many instances, he is given much more sympathy and understanding than many other characters in the show, especially many of the female characters. This long-winded meta is only focused on the concerning tendency for fans to link Ian's identity to Mickey entirely without allowing him to be an individual, but a majority of the time he is still a beloved character who is treated favorably by fans. Compared to a character like Debbie, Ian sees much more support, and I feel that the energy I put toward this meta and trying to understand Ian should also be applied to (almost) EVERY character in the show.

Anyways feel free to leave thoughts.

[moghedien]

I've been so fascinated with how the movie pulls off the emotional climax at Ozdust, because I think its not nearly as simple as is seems to a lot of people. Like you can reduce it to "Elphaba did something nice and Glinda felt bad" and then one dance routine later they're friends

I think its a lot more than that though, and I think the movie kinda trickles things in gradually to show it throughout. And that kinda reduces it down to Glinda's guilt motivating the entire friendship, which I don't think is accurate either. Its less "Glinda feels bad" and more "Glinda and Elphaba realized they were playing entirely different games and had entirely skewed their reasons for hating each other" which included making Glinda also realize that she was being a bitch for no damned reason

Like, even their reasons for their rivalry are different from each other and so are their reasons for "maintaining" that rivalry. Their first interaction was them both mutually embarrassing each other, though only Elphaba was trying to embarrass Glinda. Which, to be clear, I'm not saying puts Elphaba in the wrong. Elphaba is very clearly in the right for I'm pretty sure all of this, and even if Glinda wasn't trying to embarrass Elphaba, it doesn't make her promising to degreen Elphaba in front of everyone any better. It's just important to understand their different perspectives on what is going on to understand the different places they're coming from. Glinda was putting on a performance of being a good person, at Elphaba's expense which she didn't even consider. Elphaba was pointing out how stupid that was and embarrassing Glinda to prove she's unbothered and correct.

That is kinda that best summary of how their rivalry goes. Glinda is performing, while Elphaba is responding to that but specifically in ways to piss off Glinda and show she's wrong. But they don't realize what the other one is doing. Glinda is performing to look like a good person and maintain the admiration of her classmates. By putting on this front of suffering by having to be in Elphaba's presence, she gets an easy win with her peers. In What is This Feeling specifically, you see them over and over again validating Glinda for just existing in the presence of Elphaba.

And given the girl sings a whole song about how "its not about aptitude, its the way you're viewed," you can assume that putting on a good appearance to her peers is probably the most important thing to her, period. Literally nothing matters more than that, and Elphaba provides an easy win. But she also has some clear attraction draw toward Elphaba that is strange and unspecified (she's gay), because she doesn't just suffer by being Elphaba's reluctant roommate, but clearly goes out of her way to partner with her, to find her at lunch, to make a scene with her in class repeatedly. Like she almost doesn't even count just having to privately live with her, she needs to bring it out in public too and spend time around her even when she should be happy to finally not have her around.

And making it all the more clear to me that all of this is, in Glinda's eyes, just a performance, we have the "looks like the artichoke is steamed" line, which is definitely one of the meanest things she says to Elphaba, but the way it goes down is fascinating. Because let's look at how that goes down:

Glinda makes a scene because Dr. Dillamond mispronounces her name.

Elphaba defends Dr. Dillamond and tries to embarrass Glinda.

Artichoke comment.

everyone is laughing at Elphaba.

To Glinda, this is what they do. They poke and poke at each other in public until one of them folds and wins, and if its her she gets public approval. But, what makes this clear to me that this is a performance is Glinda's immediate actions after the artichoke comment. When everyone is laughing, she exchanges a look with Elphaba, and the look is not mean at all. She doesn't look like she's gloating or like she just won, she just kinda nods and smiles and it seems like a genuine acknowledgment of...something. It's unclear what, but she doesn't seem like she's overly proud. It's like she's nodding to someone who just played a good game against her, but lost and she wants them to know they played well. It's bizarre the look here and fascinating.

And even more bizarre because Elphaba seems to acknowledge it as well and seems like she understands and almost smiles in response. But I think this also illustrates the disconnect in them for what their rivalry is.

So looking at Elphaba now, her approach to her rivalry began with her embarrassing Glinda, as mentioned before, and continued with her embarrassing Glinda. Most of what she is doing is trying to intentionally embarrass Glinda, which as I said before, isn't really wrong because Glinda is as far as we ever see, the one who is in the wrong and who starts the whole thing by embarrassing Elphaba. But as I said before, embarrassing Elphaba isn't the point of what Glinda is doing, she's trying make herself look better and is just using Elphaba, but literally how would Elphaba know this and why would it matter?

We see that Elphaba has been targeted and mocked her entire life, and that is basically what Glinda is doing to her now. But its also different with Glinda. Because before its always like, groups of people banding against her, with Glinda its personal. She certainly has her minions and all, and basically the entire school hates Elphaba just because they love Glinda, but Glinda isn't really using them. She's still doing everything herself and seems to actually go out of her way to go against Elphaba herself.

That, as far as we know, is different than any bullying Elphaba has experienced before, and what also makes it different is that Elphaba has an advantage of having something Glinda wants and something that prevents her from being pushed aside. Elphaba is basically going to be at this school however long Madame Morrible wants her there, and Madame Morrible also hates Glinda, so Elphaba can't be pushed away and she also has this one thing to hold over Glinda, because she's the one getting the attention that Glinda actually wants. And she's also potentially the only one that might help Glinda get it.

In a really weird way, this rivalry with Glinda might be the closest thing to a friendship that Elphaba has had from someone that isn't her sister or her nanny. Because its both of them personally going after each other and they both also have advantages over each other. And its clear that Glinda could be using her peers to target Elphaba but isn't. And Elphaba also makes it clear that she can ignore people she doesn't like, and yet she doesn't ignore Glinda. Because both of these freaks enjoy poking each other nonstop forever too much. There is something that draws them together (homosexuality) even when they supposedly can't stand to be around one another. Glinda is performing, but Elphaba is having the time of her life sparring with someone in a way she probably never has before.

Which takes us to the hat.

Elphaba approaches Glinda because, according to Nessarose, Glinda did something nice for her. We don't know specifically what Elphaba was going to say to Glinda, but it seems like its something she isn't comfortable with. Maybe she was trying to figure out what Glinda's motivations were. Maybe she was just going to thank Glinda for what she did. Either way, we don't know because Glinda interrupts her by giving her the hat and really talking up that damned hat too. Not only giving her the hat, but specifically inviting Elphaba to go out with them. Elphaba has probably never gotten anything like that before.

Elphaba, who has had the time of her life being antagonistic with Glinda up until this point, now thinks that Glinda is doing nice things for her and for her sister, for seemingly no reason. So she returns the favor and makes Madame Morrible accept Glinda as a student and tell her that night. That night, because this was going to be best night for Nessarose, maybe for Elphaba too now, so let Glinda have something too. Maybe this rivalry was turning into something else and maybe Elphaba was glad for it.

Only, Glinda wasn't being nice.

Glinda getting Boq to ask out Nessarose wasn't to be nice to Nessarose. She wanted Boq to leave her alone. And she didn't give Elphaba the hat and invite her out to be nice, she wanted to embarrass her after receiving validation for the idea from Pfannee and Shenshen.

What you need to know about Glinda here, is that she does not think about other people. She will throw a fit at Dr. Dillamond mispronouncing her name because he physically can't say it right and then repeatedly call Boq by the wrong name. She doesn't know if Nessarose wants to go to the dance or if Elphaba wants her to stop mocking her. She doesn't even consider these things when deciding to do something for her own benefit. She is doing as Glinda must do to perform as she needs for her audience (the entire world).

Which is how we end up here, at the emotional climax of the night. When she discovers that Elphaba did one very nice thing for her after she did something specifically to humiliate Elphaba, its not just guilt for this one moment, right? Its guilt for every little thing that she's done that she just assumed wasn't actually affecting someone else. Her mocking Elphaba and doing all these things wasn't actually about Elphaba, after all, it was about Glinda looking well. Because she didn't even really think about Elphaba, or how she might be interpreting what their dynamic is or that she might actually have been hurt by the things Glinda does. It was all a performance to Glinda.

But is was something else to Elphaba entirely.

And so we look at all the times, like the artichoke moment or their introduction, where Elphaba didn't seem all that upset and maybe Glinda realizes that wasn't always the case. She just wants people to think she wasn't. She was performing too, just not in the same way Glinda was. She was enduring the disapproval of others because she was maintaining this dynamic with Glinda, whereas Glinda was getting approval from others for enduring Elphaba. They were playing different games entirely and Glinda didn't know until Madame Morrible gave her the wand. It wasn't just the cruelness of the hat that she realized, it was the cruelness of single thing she's ever done to Elphaba.

And looking from Glinda's perspective, it makes sense if you see that she's forced to reckon with the fact that she's a terrible person and doesn't like herself, but look at what the situation is from Elphaba's. To Elphaba, Glinda is the first person that saw that she'd hurt Elphaba and then reached out to comfort her and try to help fix it instead of laughing or getting upset or doing nothing. Like I said before, the dynamic she has with Glinda before this is maybe the closest thing she has had to a friend, which is fucked up. But also part of me wonders, based on how they're seemingly drawn together when they could just ignore each other and based on Elphaba's reaction to Glinda's sort of nod after the artichoke comment, AND based on how quick Elphaba was to approach Madame Morrible, part of me wonders if Elphaba was just hoping for a moment when their antagonism would end the whole time. And that's why she's so willing to accept that once Glinda does something that Galinda is not supposed to do and makes a fool of herself to support Elphaba in front of all of the people she's supposed to be putting on a show for.

Which I think, makes Glinda joining Elphaba in the dance that much more important. Because, and I love this for the movie, she's not getting praised for doing so. Shenshen and Pfannee tell her to stop. The initial reaction she gets once people realize she isn't mocking Elphaba is scorn. For like, this one little moment they're on the same page. Glinda is getting disapproval for being with Elphaba here. And it ends in them being accepted by the party, but that almost seems to be unimportant. They hug before they realize that everyone else has joined in, and once they realize it, they leave the party together pretty much immediately. Their relationship has been a show in public for so long and so what happens next when they stop performing happens in privacy, just for them.

[patchwork-artists]

Hey you! Have you seen this post by @pigswithwings? Do you like it? Do you like animation? Well do I have the news for you! With the author's permission and consultance, I am running a 5 minute animation short film on it, called "Angel back at home"!

Now, here's the most exciting news: We are looking for storyboarders, background designers, and 3 voice actors of all genders! Even better, you don't need to be a professional on any of those things whatsoever, only have some knowledge on them (and be of minimum age 16) to try and apply for the role!

Unfortunately, it is not paid, as for legal reasons we can not make profit out of it. Why should you join then, you ask? In this project we guarantee three things:

Portifolio building: Everything you will be producing, you can be using to add to your personal art portifolio, if this is a career you'd like to follow!

Resume: The short-film will be hosted on several film festivals, so you'll be able to put a big list of festivals your work was featured in, if you'd like to follow any art career. If not, the entire experience can be written in several bullet points on a resume ("experience with working in group", "experience of working within a deadline", etc) for any general job.

Advice and art growth: Every art that gets made on this project will be seen by me, the producer, and will be given advice for improvement. This is especially good if you've been on an art block, is self-taught, or overall would like a different perspective on your art. Don't worry, I'm not harsh!

Additional points is that it allows me to know new artists and new talents! From the last project I had run in this format, I had taken notice of 5 to 6 different artists that I hadn't known were so talented for their specific skills, which made me keep their names for the next project I'd produce. I am someone who dreams of opening an animation studio for new underrated talents and non-professionals that are studying to be professionals, so i'm looking forward to finding the artists on this project that will catch my eye and I'll bring over to the next project.

The timing is flexible since it is a volunteer ran project, if I can't pay I can't demand work hours of a job, so the deadline won't be too tight. For 5 minutes of film, the boards, voice acting, and single music will all in total take about 3 months, with the deadline starting in ferbuary and ending in the end of April. The following months will be given towards animation, sound editing and mixing, and video editing.

Requirements for storyboarders: Know how to draw, understand rule of thirds, enjoy drawing expressiveness through body language. You can be using any drawing device, whether that's computer, cellphone, or traditional, as long as you use the storyboard template in question and stay faithful to references.

Application link for storyboarders

Requirement for voice actors: have a somewhat good microphone(doesn't need to be professional and expensive, just good enough so we don't want to give the audio editors too much work), have interest in acting (preferably have had at least one theather class).

Application link for V/A

Lines for V/A

Requirement for background designer: Know how to draw or how to put together a 3d model of free assests, you don't need to be super experienced and specialized with drawing backgrounds but it'll be good to have a basic idea of it. You will be given specific references for the backgrounds, and you won't draw every single background, it'll be split work

Application link for background designer

Applications end by ferbuary 8th, but may be pushed forward if the applications are low. Everyone that passed will be noticed two days after.

Best of luck to everyone!

[the-littlest-goblin]

Something that's stuck with me from the Arch Heart's appearance, which highlights a major underpinning of my frustration with C3, is the "Big Doors don't work" comment.

In what way exactly is the Big Door not working?

The purpose of the Divine Gate was to mitigate the gods exerting undo influence on mortal affairs, and according to everything we've seen in all 3 campaigns up to this point, this was a demonstrable success: the Calamity ended, and despite multiple potentially world-ending catastrophes cropping up since then, it has been up to mortals to deal with these threats. They've often done so with divine aid, but I fail to see how that's overreaching on the gods' part when accepting said aid is still dependent on mortal choice.*

Part of the Arch Heart's reasoning for wanting to "let go" is, as I understand it, because mortals continue to rebel against and resent the gods even from behind the Divine Gate. Which, yes they do, but like... the customer is not always right. Not every complaint needs to be catered to, especially the ones based on faulty postulates.

I get that this is not how the Arch Heart is thinking about it; my issue is not with the roleplay of individual characters, but with the narrative whole and the sheer amount of time it has spent, both in the text and extra-textual framing, sincerely entertaining the base axioms of an argument that is so poorly constructed Ludinus wouldn't make it past round one of a middle school debate club. None of the anti-god arguments have given any tangible evidence for the claim that the gods are an oppressive force or that Exandria would be better off without them that is not either:

A. Aeor, which was pre-Divine Gate and in fact the catalyst for the gods to pull back on interfering with mortal affairs, and therefore not all that pertinent to the current status quo;

or B. an event or action that, while it may be done in the name of the gods (e.g. Hearthdell) or directly encouraged by a god (e.g. Opal and the Crown) is nonetheless still contingent on mortals making choices, and therefore not a convincing argument that the gods are infringing on free will,** nor that removing them would prevent these types of situations.

An ongoing motif of C3 has been showing perspectives which challenge the prevailing narrative about the gods as established within Exandria's lore to this point. As a story enjoyer, I normally would eat up this sort of reversal—I love a metatextual play with in-universe narratives. But to do so convincingly requires more substance than a handful of characters going 'Trust me bro.' I'm going to need to see some peer-reviewed studies on Exandrian metaphysics before I take Ludinus "17 ulterior motives stacked in a wizard robe" Da'leth's word over what I've seen with my own brain over thousands of hours worth of game play.

If the message of the narrative is telling me to question the diegetic information it presents, then I am going to do just that. So far every argument that the gods do more harm than good for Exandria has been rampant citationless behavior. I find it baffling and borderline infuriating that we're approaching the denouement of this campaign and I still have yet to see evidence that the core conflict of the story, the central debate which has plagued every in-game and fandom discussion for a year now, is based on an actual problem. Like, at all.

*If you think Vax did not exercise his own agency and free will in every step of becoming Champion of the Matron, you are simply wrong.

**For real, we know there are magical means of straight-up mind control in Exandria. Like, you don't have to approve of it, but the gods engaging in standard issue verbal manipulation does not constitute a violation of free will, and it certainly doesn't make the argument that they are so immeasurably more powerful than mortals that they should not be allowed to exist.

[myerssimp21]

Batcave Meeting (YAN!Pt.3)

Romantic!Yandere!Batfam Part 3. Part 1, Part 2 here (context: Tim Drake purposefully got aphrodisiac'd when fighting Ivy and then went over to Darling's apartment to smash. This is a batfamily meeting about that and how to move forward.).

As you obliviously drifted to sleep, the live feed of you doing so was being projected onto a big screen in the BatCave while members joined together at a table, casually watching you as you yawned and readjusted against your pillow. The imposing man situated at the end of the table clasped his hands together, regarding the young men in front of him. Once everyone was seated, the imposing man began speaking to them, noticing how many of them had their eyes glued to the screen.

"We're going to discuss what happened the other day and plan for next week," he announced, and the pouty brunette who had had a frown on his face now crossed his arms.

"Allow me to explain it from my perspective first, Father," he said, sporting a moody expression, "You and Drake were unexpectedly out of commission during your patrol, which, while not typical, is understandable given our line of work."

His eyes flicker over to Tim and Jason, narrowing in contempt and disgust.

"Todd and Drake both know how important our duty to Gotham is," Damian continued while making eye contact with Jason, "But instead of prioritizing that, they let their impulses get the better of them. Drake especially for instigating the situation. Using Ivy's aphrodisiac to... indulge with our darling? It's selfish, reckless, and disrespectful."

"Damian, hold on a second," Jason interjected, "I had no idea about the aphrodisiac. It was my night off so I was sleeping in and missed Bruce's calls when he and Tim got doused in it. I only woke up because the audio feed from her apartment was turned up and I heard them together. I blew up Tim's phone and went over when he left because I was pissed, and I didn't realize that was why she couldn't get enough. I feel really bad about it now that I know."

Damian's expression softened subtly as he absorbed Jason's explanation. Despite his composed demeanor, the tension still lingered in his features.

"I appreciate your honesty, Todd," Damian conceded, his tone slightly softer, "It's still not acceptable that she was acting strangely and this was not analyzed, but I understand that the situation was...unconventional."

As Jason and Damian had a moment of newfound comradery, Tim finally spoke up, "I understand your frustrations, but you need to know that I researched Ivy's aphrodisiac extensively before I ever considered using it. I made sure it wouldn't have any adverse health effects on anybody and appropriately calculated the risks."

Damian's expression darkened further, his negative feelings towards Drake beginning to truly show. "This isn't just about general safety or the safety of some substance!" he exclaimed, "It's about respect and her consent. You had no right to manipulate her like that, whether or not it posed a physical risk."

"Come on, Damian," Tim retorted, a hint of defensiveness creeping into his voice. "She didn't find out about the aphrodisiac, did she? So what's the big deal? It's not like we hurt her or anything. She's fine, and she doesn't even know what happened. In fact, she likes us even more because I made a move for us. Why are you making a big deal out of nothing?"

Jason scoffed, his distaste in Tim at this point evident. "Seriously, Tim? You're gonna act like a douchebag just because she didn't find out? That's messed up, even for you."

"It's not just about the immediate consequences," Damian shot back, his voice angrier. "It's about the long-term impact on her. I bet you didn't even stop to consider how your actions could affect her, or how they could undermine the trust she has in us. And what about the ripple effect it could have on her relationships with all of us? He's playing with fire, Father, and he needs to be held accountable."

"Let's not overlook the bigger issue here," Tim said, his voice defensive, "What I did was perverted, I admit that. But let's not pretend that bugging and wiring her apartment is any less invasive. That's hardly consensual either."

"Don't you dare deflect the issue!" Damian's voice rose, and he was now yelling, "We implemented those measures for her safety, not for our own entertainment! It's a gross violation of her privacy, but at least we did it to protect her!"

"Oh? And having two separate cameras staring at her bed is going to what, protect her from bad dreams?"

"Dami, Tim, let's try to keep our cool here," Dick interjected gently, easing in to defuse the tension, "We're all on the same team, remember? We need to work together to figure this out."

Damian turned to Dick with a measured gaze, "I want to hear your perspective on this matter, Grayson."

Dick sighed, solemnly addressing Drake. “Tim, what you did wasn't just a mistake. It was a deliberate breach of trust. She relies on us to keep her safe and instead of focusing on that, you exploited her vulnerability.”

"Also," and Dick seemed more pained at this part, "You betrayed our trust. We all care about her and you influenced her desires for your own gain."

Tim sat in silence, his expression filled with shame as he began to realize the gravity of his actions. He knew he had acted irresponsibly, and the weight of their words hung heavy in the air. Jason and Dick exchanged silent glances, their disappointment evident in their expressions.

Damian took a deep centering breath before focusing his attention back on Tim.

"This isn't about whether she found out or not, Drake. If you still don't understand that, then we need to take more drastic measures to address and punish this behavior. Father, I appeal to you to implement anything you deem necessary to prevent such behavior in the future. We cannot allow such indecent actions against her to to be repeated."

Bruce, understanding the severity of the situation and having now heard everyone's perspective, nodded solemnly at Damian.

"Tim, in light of your actions, there are going to be some consequences," Bruce stated firmly, his tone leaving no room for argument. "You need to schedule therapy with Dr. Thompkins to address the troubling attitude that led to this situation. While we have taken invasive measures to monitor her, as Damian pointed out, your actions went beyond that."

He paused, allowing the weight of his words to sink in before continuing. "Until you've attended and Dr. Thompkins deems it appropriate, you will be restricted from having any contact with _____."

Finally, Bruce's gaze softened slightly as he looked at both Damian and Tim. "And Tim, it's imperative that you and Damian eventually reconcile. We're a team, and we need to remain united in our goals and overall behavior. I expect both of you to work towards rebuilding your relationship for the sake of the team and our darling."

"Damian," Bruce addressed his son, "since Tim will no longer be able to have contact with her, I'm assigning you a new responsibility. You will substitute him as her school friend and be someone she can rely on for assistance with homework and company. I want you to pick a class of hers that sounds interesting to you and make sure you're there to support her. It's important that she has someone she can trust and rely on, especially now. It's an opportunity for you to show her that she can count on us."

As the meeting continued, Damian spoke up, "I'll join her art class. It will allow me to assist her with her assignments and ensure she receives the academic support she needs."

Bruce nodded in approval. "Good choice, Damian. Make sure to approach this responsibility with care and dedication."

Turning to Jason, Bruce's expression grew serious. "Jason, I need you to be especially understanding and supportive towards her. If she feels troubled or has any lingering negative thoughts about what happened, I expect you to be there for her."

"Of course, Bruce," Jason says, eyes fixated on the now-sleeping figure of their darling on the cameras, "I'll do whatever it takes."

Dick now spoke up, "Can we talk about introducing me as Jason's roommate?"

Bruce shook his head, "Not yet; I want to make sure Damian successfully integrates first. You can still frequent around her job but no more interactions than that."

"Except for as a vigilante?" Dick replies hopefully, and Bruce gives him a measured gaze similar to his son's.

"Yes, although I expect you to exercise patience and primarily work in Blüdhaven for now."

Damian cuts in, "And don't be like Drake and fabricate a reason for her to need you."

"Damian," Bruce says in a tired voice, "I've made myself clear."

Damian looks down with an expression like he's biting his tongue and contempt is bright in his eyes, "Sorry, Father."

With that, the meeting concluded, each member of the Batfamily knowing the roles they had to play in ensuring their darling's well-being and trust remained intact.

[mostlysignssomeportents]

Why Millennials aren’t leaving Tiktok

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me TOMORROW NIGHT (Mar 22) in TORONTO, then SUNDAY (Mar 24) with LAURA POITRAS in NYC, then Anaheim, and more!

The news that Gen Z users have abandoned Tiktok in such numbers that the median Tiktoker is a Millennial (or someone even older) prompted commentators to dunk on Tiktok as uncool by dint of having lost its youthful sheen:

https://www.garbageday.email/p/tiktok-millennials-turns

But "why are Gen Z kids leaving Tiktok?" is the wrong question. The right question is, why aren't Millennials leaving Tiktok? After all, we are living through the enshittocene, the great enshittening, in which every platform gets monotonically, irreversibly worse over time, and Tiktok is no exception:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

To understand why older users are stuck to Tiktok, we need to start with why younger users relentlessly seek out new platforms. To some extent, it's just down to youth's appetite for novelty, but that's only part of the story. To really understand why people come to – and leave – platforms, you have to understand switching costs.

"Switching costs" is the economists' term for everything you have to give up when you change products or services. Switching from Ios to Android probably means giving up a bunch of your apps and purchased media. Switching from an airline where you're a high-status frequent flier to another carrier means giving up on free checked bags and early boarding.

In an open market, rivals have lots of ways to lower these switching costs (it's an open secret that you can call an airline and say, "Hi, I'm a 33rd Order Mason on American Airlines, will you make me a Triple Platinum Diamond Sky-Baron if I switch to Delta?"). Of course, big incumbents hate this, and do everything they can to increase their switching costs, finding ways to impose high switching costs that punish disloyal consumers who have the temerity to go elsewhere.

With social media, lock-in comes for free, thanks to the "collective action problem." Getting people to agree on a given course of action is hard, and as you add more people to the picture, the problem gets harder. It's hard enough to get half a dozen people in your group-chat to agree on where to go for dinner or what board-game to play. But once you're reliant on a social media service to stay in touch with friends, relatives around the world, customers, communities (say, rare disease support groups), and coordination (like organizing your kid's little league car-pool), the problem becomes nearly insoluble. Maybe you can convince your overseas relatives to switch to a Signal group, but can you do the same for your small business's customers, or your old high-school pals?

https://pluralistic.net/2022/10/29/how-to-leave-dying-social-media-platforms/

Taken together, switching costs and collective action problems make platforms "sticky," and sticky platforms inevitably enshittify.

Platforms, after all, generate value. They connect end-users with each other (say, little league parents) and they connect end-users to business customers (you and your small business's customers). That value needs to be parceled out among end users, business customers, and the platform's shareholders. A platform can make life better for business customers at its end users' expense by increasing the number of ads (hello, Youtube!), and it can make life better for its shareholders at its business customers' expense by decreasing the share of ad revenue given to publishers or performers (oh, hello again, Youtube!).

From a platform's perspective, the ideal state is one in which end users and business customers get no value from the platform, because it's all being captured by the platform's shareholders. But if Youtube interrupted every 30 seconds of video for ten minutes of ads and paid the video creators nothing, both users and creators would ditch the platform – and advertisers would follow:

https://www.youtube.com/watch?v=Dab8sKg8Ko8

So platforms seek an equilibrium: "what is the least value we apportion to end-users and business customers without triggering their departure?" Maybe that means giving more value to end-users (for example, keeping Uber fares low by suppressing wages), or to business-customers (crowding more ads into your social media feed).

Every business – including brick-and-mortar, non-digitized ones – wants to find some kind of equilibrium between the value going to its suppliers, its customers and its owners, but digital businesses have an advantage here: digital systems are flexible in ways that analog, hard-goods businesses are not. Digital businesses can alter pricing, payouts and other dynamics from moment to moment – second to second – and make a different offer to every supplier and customer. They have a bunch of knobs, and they can twiddle them at will:

https://pluralistic.net/2023/02/19/twiddler/

Well, not quite at will. Businesses face constraints on their twiddling. If they get too greedy, users or business customers might weigh the cost of staying against the switching costs and decide it's not worth it. But the more expensive – the more painful – a platform can make leaving, the more pain they can inflict on the people who stay.

In other words, there's two ways to keep a customer or supplier's business: you can make a better service so they won't want to leave, or you can make leaving the service so painful that they stay even if you mistreat them.

There's three ways a digital company can make things worse for their customers and users without losing their business.

First, they can eliminate competition (think of Mark Zuckerberg buying Instagram to recapture the users who'd fled Facebook to escape his poor management):

https://pluralistic.net/2023/09/03/big-tech-cant-stop-telling-on-itself/

Second, they can capture their regulators and avoid punishment for trampling their suppliers' or users' legal rights (think of how Amazon has raised the price of everything we buy, both on- and off Amazon, through its "most favored nation" deals):

https://pluralistic.net/2023/04/25/greedflation/#commissar-bezos

Third, they can use IP law to prevent competitors from modifying their services to claw back some of that value (think of how Apple used legal threats to block an Android version of Imessage, blocking Apple customers from having private conversations that included non-Apple customers:

https://pluralistic.net/2024/01/12/youre-holding-it-wrong/#if-dishwashers-were-iphones

Companies can't just use this tricks at will, of course. Antitrust laws can block companies from making anticompetitve acquisitions or mergers. Regulators can punish companies for cheating their customers, workers and users. Technologists can come up with clever ways of modding or reconfiguring existing services with "interoperable" add-ons that let users bargain for better treatment by refusing to accept worse:

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

Day in, day out, the decision-makers at tech companies test these constraints, twisting the knobs that shift value away from users to shareholders. Their bosses and boards motivate them with "KPIs" that dangle the promise of huge bonuses and promotions for any manager who successfully enshittifies part of the company's products:

https://pluralistic.net/2023/07/28/microincentives-and-enshittification/

Decades of pro-corporate, pro-monopoly policy has loosened those knobs. 40 years of lax antitrust meant that companies had a lot of leeway to buy or merge with rivals – that's changing today, but it's tough sledding:

https://pluralistic.net/2023/07/14/making-good-trouble/#the-peoples-champion

As sectors grew more concentrated, they found it easier to capture their regulators, so that they no longer fear punishment for price-gouging, spying, or wage-theft, so applying the same amount of torque to the "break the law" knob cranks it a lot further:

https://pluralistic.net/2022/06/05/regulatory-capture/

Once you've captured your regulators, you can aim them at your competitors. A monopoly-friendly policy environment has transformed IP law into a bully's charter, allowing powerful companies to strangle would-be competitors who dare to offer their customers tools to shield themselves from enshittification, like scrapers, ad-blockers and alternative clients. Big companies can crank the enshittification knob all the way over and know that smaller rivals knobs won't turn at all:

https://pluralistic.net/2022/10/20/benevolent-dictators/#felony-contempt-of-business-model

At one point, bosses faced one more constraint on knob-twiddling: their workforce. Many tech workers genuinely cared about their users' welfare, something bosses encouraged as a sneaky trick to get techies to put in long hours without exercising their leverage by quitting rather than destroying their lives to meet arbitrary deadlines. These workers would fearlessly slap their bosses' hands when they reached for the enshittification knob, threatening to quit rather than allowing the products they'd given so much for to be enshittified. Today, after hundreds of thousands of tech layoffs, tech workers are far less like to challenge their bosses' right to twiddle, and far more likely to get fired if they try:

https://pluralistic.net/2023/09/10/the-proletarianization-of-tech-workers/

All this means that tech bosses don't have to change their approach at all, and yet, their services will grow steadily worse. The boss who twiddles the enshittification knob in exactly the same way as he did a year or a decade ago will find it turning much further, because his customers are locked into his platform, his regulators won't protect them, the same regulators will stop his competitors' attempts at countertwiddling, and his workers fear losing their jobs too much to speak up for their users.

That's the contagion that produced the enshittocene: the forces that constrained companies (competition, regulation, self-help and labor – all melted away, allowing every company's MBA-poisoned knob-twiddling leaders to shamelessly caress their knobs with every hour that God sends:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel

Which is why people want to leave platforms. When a platform loses its users, those users have weighed the switching costs against the pain of staying and decided that it's better to bear those costs than to stay.

So why have Tiktok's younger users found the costs too high to bear, and why have their elders remained stuck to the platform?

For that, we have to look at the unique characteristics of young people – characteristics that transcend the lazy cliche that kids are easily bored, fickle novelty-seekers who hop from one service to another with unquenchable restlessness.

Whether or not kids are novelty-seekers, they are, fundamentally, a disfavored minority. They want to do things that the platforms don't want them to do – like converse without being overheard by authority figures, including their parents and their schools (also: cops and future employers, though kids may not be thinking about them as much).

In other words, kids pay intrinsically lower switching costs than adults, because a platform will always do less for them than it will for grownups. This is a characteristic kids share with other supposedly technophilic, novelty-seeking "early adopters," from sex-workers to terrorists, from sexual minorities to trolls, from political dissidents to fascists. For those groups, the cost of mastering a new technology and assembling a community around it is always more likely to be worth bearing than it would be for people who are well-served by existing tools:

https://pluralistic.net/2022/06/21/early-adopters/#sex-tech

Pornographers didn't jump on home video because of its superiority as a medium for capturing flesh-tones. Home video was a good porn medium because it was easier to discreetly get into the hands of porn consumers, who could, in turn, discreetly view it. The audience for porn in the privacy of your living room is larger than the audience for porn that you can only watch if you're willing to be seen marching into a dirty movie theater.

Every new technology is popularized by a mix of disfavored groups and neophiles, who normalize and refine it – and yes, infuse it with their countercultural coolth – until it becomes easy enough to use to become mainstream. As more normies drift into the new system, the switching costs associated with leaving the old system declines. It gets easier and easier to find the people and services you want in the new realm, and harder and harder to find them in the old one.

This is why tech platforms have historically experienced sudden collapse: the platform that gets more valuable and harder to leave as it accumulates users gets less valuable and easier to leave as users depart:

https://www.zephoria.org/thoughts/archives/2022/12/05/what-if-failure-is-the-plan.html

If you're a Gen Z kid on Tiktok, you experience the same enshittification as your Millennial elders. But you also experience an additional cost to staying: as late-arriving adult authority figures become more fluent in the platform, they are more able to observe your use of it, and punish you for conduct that you used to get away with.

And if you're a Millennial who isn't leaving Tiktok, it's not just that you experience the same enshittification as those departing Gen Z kids – you also face higher switching costs if you go. The older you get, the more complex your social connections grow. A Gen Z kid in middle school doesn't have to worry about losing touch with their high-school buddies if they switch platforms (they haven't gone to high school yet – and they see their middle school friends in person all the time, giving them a side-channel to share information about who's leaving Tiktok and where they're headed to next). Middle-schoolers don't have to worry about coordinating little league car-pools or losing access to a rare disease support group.

In other words: younger people leave old platforms earlier because they have more to gain by leaving; and older people leave old platforms later because they have more to lose by leaving.

This is why Facebook is filled with Boomers. Yes, their kids bolted for the exits to avoid having their parents (or grandparents) wading into their sexual, social and professional lives. But the reason the Boomers were late joining younger users' Facebook exodus – or the reason they never joined it – is that they stand to lose more by going. Facebook deliberately cultivated this dynamic, for example, by creating a photo hosting service designed to entice users into uploading their family photos while disguising how hard it would be to take those photos with them if they left:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

The irony here is that tech has intrinsically low switching costs. All other things being equal, a new platform can always build a bridge to ease the passage of users from the old one. There's no (technical) reason that moving to Mastodon, or Bluesky, or any other platform should mean cutting ties with the people who stayed behind.

A combination of voluntary interoperability (where old platforms offer APIs to allow new services to connect with them), mandatory interop (where governments force tech companies to offer APIs) and adversarial interop (where new companies hack together their own API with reverse-engineering, scraping, bots, and other guerrilla tactics) would hypothetically allow users to hop between networks as easily as you change phone carriers:

https://pluralistic.net/2022/12/19/better-failure/#let-my-tweeters-go

Tech platforms tend to offer APIs when they're getting started (to ease the inward passage of new users) then shut them down after they attain dominance (locking the door behind those users). The EU is tinkering with mandatory APIs through the Digital Markets Act (though bafflingly, they're starting with encrypted messaging rather than social media). Restoring adversarial interoperability will require extensive legal reform, which is getting started through Right to Repair laws:

https://www.techdirt.com/2024/03/13/oregon-passes-right-to-repair-law-apple-lobbied-to-kill/

The people who are stranded on social media platforms shouldn't be mistaken for uncool, aging technophobes. They're not stubborn, they're stranded. Like the elders who can't afford to leave a dying town after the factory shuts down and the young people move away, these people are locked in. They need help evacuating – a place to go and a path to get there.

Name your price for 18 of my DRM-free ebooks and support the Electronic Frontier Foundation with the Humble Cory Doctorow Bundle.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/03/21/involuntary-die-hards/#evacuate-the-platformsr

[burr-ell]

The narrative is one thing, but I think it's really weird for fans to think Ludinus "has a point" about the gods in general causing the destruction of the Calamity when we know better. We objectively know better. It wasn't Sarenrae mutilating Vespin Chloras into a mindless puppet. It wasn't Melora sending Zerxus manipulative dreams and visions. It wasn't the Raven Queen destroying Exandria's protections against extraplanar threats. It wasn't Kord sending fiends into two inhabited cities to slaughter people indiscriminately. It wasn't Bahamut trying to release two emperor titans to destroy the planet. It wasn't Pelor killing and resurrecting Zerxus multiple times just for kicks, calling living breathing mortals "worthless paper dolls" and "a bad first draft".

It wasn't they who were responsible for the cloud of ash covering Exandria, or even most of the casualties. We know it was "not only in the first year, but in the first moments of Calamity" as Rau'shan and Ka'mort were destroyed—to prevent unleashing them on the world and everything being lost—that a large amount of that two-thirds of living beings were killed. We know that the "eruption of ash and fire, molten stone" from the destruction of Toramunda caused by the release of energy from the Astral Leywright sent up a cloud that covered Exandria for about a hundred years—up to the point where Downfall takes place, in fact. We know who then saw that destruction, done in the name of saving the world from the worst of his carefully plotted scheme, and then decided to shatter Exandria's teeth.

It's interesting how fixated some folks have gotten on the idea of "history being written by the winners", that maybe we don't really know the truth of what happened. It's not only ironic to then give infinite benefit of the doubt to the perspective of someone we know is a liar, it effectively wishes away how much of the history we've seen play out for ourselves. Under this...let's charitably call it understanding, the gods that we objectively know caused the Calamity's destruction are never the gods being referred to as oppressors and tyrants (even when they've explicitly identified themselves as oppressors and tyrants!).

For Bell's Hells, and the people of Exandria, much of this information has in fact been lost to time, and I don't look askance at them for not knowing what happened. I do, however, look askance at the real-life people who do know what happened, who can reasonably piece together the information we've been given, and are still so desperate for Ludinus to "have a point" that they're hiding behind tautologies and clichés so they can demonize the gods regardless. Because "what if the good guys were bad" is subversive, you see. When the black-and-white mindset is true but just casts the heroes as the villains, well, that's nuance, right?

[markrosewater]

As someone who only recently got properly into Magic this year my stance on the recent UB Standard legality is that so long as the mechanics are good, fun to play, and work well with the other Standard legal sets then I don't particularly care if Final Fantasy is legal.

But.

There is something about the Marvel Universe being Standard Legal that feels off. Final Fantasy shares many aesthetic and gameplay similarities to Magic that make it slide into the general ecosystem better from a Look/Feel perspective. Meanwhile, as much of a Spider-Man fan as I am, it is going to be incredibly weird seeing Peter Parker or Miles Morales face off against the critters of Bloomburrow, even more than Thunder Junction or Duskmourn do.

I will attend the Final Fantasy and Spider-Man prereleases because I love playing Magic and I am interested in both sets, but I cannot shake the feeling that this decision makes the overall play experience strange, especially since SIX Standard sets of a year is way overdoing it (maybe 3 In-Universe sets and 1 UB set would be a better balance?)

I understand the decision from a logical standpoint but the emotional reaction to Magic losing some of its Qualia is something that I can't ignore

I have read many of the responses to my request for emotional responses yesterday (I will continue reading - there are just a lot of people sharing). A common through line is the feeling of loss, that the decisions we’ve been making are taking things away from them.

So, I wanted to take a moment to talk about something that I believe Universes Beyond is adding to the game. I’m not talking about value to other people that aren’t you, but something that is upside to the enfranchised players that are the backbone of the game.

As I’m head designer, my focus is on mechanics and the core gameplay experience of playing the game. Universes Beyond has been a bolt of energy for the design of the game.

Because so many of you are sharing personal stories, I’ll use my own experiences as a way to illustrate my point.

One day, when I was seven or eight, I woke up and went downstairs to see that my Dad had bought me a comic book and left it out on the counter for me as a surprise. It was Spider-Man.

I must have read that comic ten times. It was the start of a life long love of comic books. I’m not quite sure why the superhero genre, in particular, spoke to me so strongly, but it did.

As a teenager I was a bit of an outcast, and when I stumbled upon the X-Men, it felt like a story that was core to my lived experience. I too was an outsider, but out there were people like me and if I could find those people, we could bond over our similarities.

I enjoy designing Magic. I mean really, really enjoy designing Magic. I don’t throw around the term “dream job” lightly. It is truly a lifelong passion. I spend so much time writing about it because it is something that brings me so much joy, and there is a desire to share that joy with others, my found family that shares my similarities.

Designing Marvel cards has been electrifying. I have spent years mastering the art of Magic design. Getting to combine that with my love of Marvel characters has been inspirational. It has inspired to make designs I would have never thought of.

It has pushed me in directions I couldn’t have predicted and resulted in designs that tickle both my inner Mel and Vorthoses.

And it hasn’t just affected my own designs. I have given more notes on card designs than I have in my twenty nine years at Wizards.

For example, the amount of back and forth with Aaron who designed the five Secret Lair cards we recently revealed at New York ComicCon was exhaustive. He and I have long bonded over our shared love of Marvel, so getting to translate that into Magic with him has been amazing.

And each Universes Beyond product we’re making has people as equally passionate about that property.

My point is from purely a design perspective, Universes Beyond has had huge dividends. It has inspired us to make fresh new designs. It has sparked creativity. We are making awesome card designs, mechanics, themes, and sets, things that most likely wouldn’t have come into existence otherwise.

The passion that beloved characters and worlds has inspired in us is translated into amazing Magic design, something that will make the act of playing Magic better for anyone who enjoys the nuts and bolts of the raw gameplay of Magic.

[gremlingottoosilly]

[If you need to be mean] chapter 2

Chapter 1

Konig decided to meet his new favorite civilian at the cafe you work at. Unfortunately for both of you, you're both socially awkward. TW: Konig being a huge pervert, Canon-Typical violence, Dub-Con, Innocence kink, Age difference(Konig in his yearly 40, Reader in young 20)

Pairing: Konig x fem!Reader Tags: Fluff, Power Imbalance, Hurt/Comfort, Size Kink, Possessive Konig, Yandere Konig, Creepy scary stalker Konig, written mostly from Konig's perspective

— Did something good happen, colonel? You are practically shining. 

Horangi always had this special ability of telling nonsense with the most serious face and deep voice. He also was the only one in his unit to ever be brave enough to joke with his superior – even though all the other KorTac members usually don’t risk their asses to be put on fire list because of some silly joke. He is the closest König has to a friend – and it’s kinda sad, actually, that a broken gambling addict is the only person who can read his emotions so well, even with his hood and permanently sour expression. 

But something good did happen – you happen, of course. 

He spend a few days of self-reflecting, drinking and punching training manekens in the gym, trying so fucking hard to put your adorable civillian face out of his mind. You were out of sight alright, but the way your features would get distorted into something even more adorable every time he closed his eyes, was concerning. He dealt with those little obsessions before – nothing that a few good rounds of jerking off until he would feel nothing but emptiness and hatred to himself couldn’t handle. He surely can’t fall that deep down, he only saw you for like an hour and it was literally three days ago! 

— I read your reports about the last terrorist encounter. Good job, Horangi. 

— And I heard about that civilian girl you pulled, sir. Thought we are bringing those to the police, not their houses. 

— I had to make sure she wasn't a spy. 

— And she wasn’t? 

König thinks – would be far easier if he would have an official, legal reason to keep you locked up on the base without the right to come out. Would be far easier for him to just think about you as an enemy, so he would have normal reasons for thinking about you constantly, and not feeling guilty. It’s normal to think so much about your enemies – this is what keeps you alive on the field, if you can determine their shortcomings early and make sure that you can fight them. He would love having you as an enemy – it would at least give him some info before starting obsession over little ol’ you. 

— No. 

— That would give us at least some lead to the terrorist cell. Feels like all locals are protecting them from it. 

— I understand your frustration. But at least they are not cutting our pay. 

— We might as well rebel if they’d try to. 

— We are not stepping on terrorist’s route. 

— I was joking, sir. Only thing that’s left here except for card games. 

Horangi hates stationing in this country as much as König is – and, given that he is a sergeant and doesn’t have as much rank expectations, can talk about this openly. This operation is perfect except for the lack of intel, lack of action and lack of basically anything to do – the local forces are handling minor threats, while mercs here are mostly to show off how the government has money to hire them. KorTac would pay for actually having to fight some bad guys around here – but the bigger ones are hiding and lower ones are already getting tracked down by the local military. 

The only interesting thing to do, seemingly, is to obsess over local girls – and König thought he is better than this. 

But he isn’t losing sleep over thinking about how scared and fragile you looked that night. Especially not even going to think about how adorable your little pout was, and the way your hands were trembling. He definitely doesn't want to know every tiny detail about your life, what you like and what you hate, what is your favorite position in bed and the color of underwear you are currently wearing – or even if you are wearing one. And he isn’t some sort of creep that would spend an obnoxiously long amount of time registering on social media – god, he is too old for this shit, it literally feels even more humiliating than his whole school experience – just so he can find your accounts and get instant masturbation material. 

You really shouldn’t post so much half-naked photos – yes, this is a reel from your last summer vacation and yes, this swimsuit looks beautiful on you, but have you ever considered that some creep(not someone like him, he is palming himself very respectfully) would use those photos as a way to get themself off? Terrible, scary, he can’t wait for you to post some new photos – maybe in something that he would buy you, way skimpier and more expensive, so he could protect you from those people. 

He looks at your posts about work – and he hates this stupid blue bird app because it never works for him, always filled with some assholes who are trying to argue with literally everyone, and the way he can’t even see your posts properly because of the weird ads. No, he doesn’t need a “Thing that would make your dick longer” he literally has a problem with making it smaller. No, he doesn’t need some dumb T-shirt even though he kinda reflects with the funny pun about pokemons and would love to wear something containing his major interest even though it would look ridiculous on a 6 '10 killing machine. 

But König reads all of your short posts about the way you hate working in customer service, and his hand is almost slipping to the ad about wedding rings. You hate your job, he hates his – practically soulmates, even though he doesn’t really hate the killing part of his employment, he just doesn’t want to be in charge of people and making them steal the fun of destroying. He would, however, agree to get as many ranks as possible if that would mean providing for you. If that would allow him to be by your side and listen to your sweet voice, he would agree for the next promotion even if higher ups would want him to make some PR wawes and become a fucking fashion model. 

But he is completely sane about you. Totally normal. Absolutely nothing is wrong with him when he can’t even think about visiting you in real life, but he leaves a like on every of your posts in every social media he has – you have terrible online safety habits by the way, he can already see what the inside of your apartment looks like, your place of work from three different angles, and how the front door of your apartment is held together by a very easy to destroy lock. He could snatch it in one deliberate kick, not even speaking about just shooting it. Not like he would need to, he wants you to be with him willingly. Or, at least, don’t fight him too much in case he would actually lose his patience and do something drastic. 

It has already been three days and he feels like he is going crazy. He had those things before, overthinking about tiniest details in someone he never truly knew, but even then he’d understand that he can’t be with them – it could be his school crushes that were, ironically, crushed because of his anxiety. It might be some casual flings with his fellow soldiers that would either get killed in the field or never happen because it would be fraternization. Some random people he saw at the airport and already imagined life with multiple kids and a dog. He always knew he had a problem – but it was never like this before. Never dangerous. 

The problem is – he knows that he can have you. 

Maybe not in a traditional way, he doubts that you would just marry him on the spot, but he can court you at least. He can shower you with gifts or ridiculous tips at your job, he can just snatch you away and leave you as his perfect little bedmate. He can make his men kidnap you, and while it is inhumane and you don’t deserve this, he would calm you down – and then have his happily ever after. 

He knows that he can have you – and it drives him crazy. He could stop himself previously, when he didn’t have anything for himself to be considered desirable – but now, with his rank and all the new opportunities and money it brings, he can’t stop but fantasize. 

You under him, panting and blushing, lips puffy from kisses, skin glazed from sweat and marked with his teeth.

You under him, so wonderfully tight, not letting him go even for an inch – and you are perfectly taking him, no matter how gigantic he is. 

You under him, smiling, cuddling after a long night – every night after a mission, where he could spend his free time deep in your body, listening to your melodic moans and little whines. 

You under…

— Can I…can I take your order, sir? 

He is a disgusting human being because lives of thousand people are on a stake, he would just doom them all if he wouldn’t find those terrorists soon – and he wastes time on sitting in this tiny ass cafe, trying to place himself on the small seat while being all too nervous to just talk to you. Like a person. Of course he had to go to your shift – he already determined which days you were working because it increased the number of angry “I hate my job and want to kill my manager” posts on that dumb social media, and he knows which hours you work at – of course it’s almost night time, the closing shift, because he simply can’t have himself not worry about you. 

He is a creep, weirdo and all that words in a song that he’s been blasting in his tiny headphones all of these days because he can smell the sweetness of your perfume and the way you are munching on the pen you are using to write his order. Oh, yes, order. He is supposed to order something, he can’t just give you money for how adorable you look in that white apron – even though you are absolutely stunning and should get money. 

God, he would murder everyone in this building just for them to never look at your legs again. 

God, he would bury himself between them if only you’d allow him to.

— Sir, is everything okay? 

He served in the military for far longer that you lived, probably. Most of his life, he got used to being referred to as something honorable, or referring to other people like that – and he never thought that just being referred to as “sir” would make his dick twitch in his pants. He crosses his legs, hoping not to get too imposing – he already towers over the tiny table like a giant he is, barely even fitting in it. He thinks he has a healthy amount of self-control – then he looks at you again, and thanks all the gods he knows for the mask he is wearing – at least under the black surgeon piece and dark glasses you won’t really see his blush. Or that little twitching in his eyes that is indicating danger. 

— Sorry, I…can I, um, have a coffee? Bitte…please, I mean. 

He hates how nervous he is – like high school again, asking his crush out just to be ridiculed. But you look perfect like this – controlled environment, you can’t just laugh at him and say that he is a weird nerd from another class, you have a manager who is controlling of such behavior. He would never tell on you, of course, he wants you to be happy, even if this job makes you the most miserable – even though he kinda thinks of you as a weak for this, his job literally involves killing people and he doesn't argue that much! 

But you giggle – sweet, innocent sound, it drives him crazy even more than he previously was. It doesn’t feel like those girls at school – yes, he still can’t let that go, even though his therapist says he has to – and he loses all control at how beautiful you sound. He wants to take you away right now, pay you for your workplace however you get them, and just use you as he wants – no matter how socially unacceptable. He protects this country, he has the right for a little prize, right? No, this would be terrible, he shouldn’t just harass sweet little civilians like you, he should…

— What type of coffee, sir? Do you want some dessert? 

This is a typical question, he was at cafes and coffee shops a thousand times but, for some reason, it feels almost like you are teasing him. You bite the end of your pen with those adorable teeth of yours – he wants to feel it on his fingers, he wants you to leave bite marks all over his body as a sign of marking him as yours. He smiles under his mask, hoping that you would somehow feel it – how happy you make him feel, how hard it’s for him not to lose control. 

— No. Just coffee. 

— Sugar? 

He would like some sugar, of course – but the one he wants is probably not for sale, even though that adorable white apron of yours makes you look like a candy. He would love to unwrap you from those silly clothes and devour what belongs to him for the right of protector, but he knows how scared you might be. He is not a good person, he killed more people that he could count – countless fathers, sons, mothers, he shouldn’t even think about having a right for a family of his own after all of this. He is not a good person and his moral code changes with every kill he gets – but for hell sake, he wants to be nice with you. You deserve it, he knows. More than he is, for sure. 

König doesn’t really like sugary stuff, it was always too childish, made him too energetic, disrupted his very peculiar way of eating things. Sweets makes him only more hungry, makes him crave more, and he wants to be as serious as possible – so he usually drinks and eats stuff that is no tastier than a pile of dry sand. But he responds before he can think, too focused on that shiny lipgloss you have on your lips. He would lick and bite it all – soon, he hopes. 

— Ja. Thank you. 

— Good choice, sir.

Your lips are curling into a small, shy smile and he likes sugar now. He isn’t sure if you are telling everyone that their order is a good choice, maybe you just want to get more tips, but he hopes that maybe, he is special. Maybe there is something nice happening to him after all. A small reward for not being a total monster on the last mission he had, even though he could. He can’t do anything but to stare at you, his only saving grace is the dark lenses of his glasses – he can’t wear his hood in civil situations, unfortunately, people would stare, stare, stare and that would make him want to pull their eyes out. 

But you smile and he smiles also, even if you can’t see it. He is looking at your legs and, fuck, he is a disgusting old creature that preys upon younger women because he never had a positive experience before. He is a total creep and a monster that should be put down already – but he stares at your legs under that waitress dress, and he would pay your manager a few thousand Euros to cut the length of your skirt in half. 

Then he sees all the others looking at you the same way – old people, young people, there aren’t a lot of guests at this time in the evening, most people are afraid of going into public places while the war on terrorism is going on. There aren’t a lot of people while it’s almost closing time, but he doesn't even want to think about all the other men looking at you like this. Devouring you with their eyes, probably leaving sleazy comments as you go through the small cafe, just as overworked as your other coworkers. He wants to take you from here. 

You don’t deserve people looking at you like you aren’t even a person – only he can look at you respectfully, stripping you with his eyes. He can be soft for you, can be perfect – if you would just let him. 

König doesn’t want to be a creep around you, but he was looking at your legs for five minutes already, picturing the way your body would look under all of these clothes, and his cock gets painfully hard. He thanks himself for wearing normal, baggy pants, not something tighter – at least his embarrassment is completely covered by his clothes. 

— Here is your coffee. Anything else? 

You look nervous, of course – but he seems way softer than he was a couple days ago, at night. The absence of his creepy mask is obviously helping, and because he is sitting, you don’t have to tilt your head too high, causing your neck to stretch uncomfortably. He looks awkwards, like a big dog that still tries to fit into his old bed, and it causes you to smile a little bit more. You made sure to place a couple of sugar cubes on the plate, so he could decide for himself, if he wants to use them all – but the mere thought of that giant of a man, a colonel, hardened soldier liking something silly and sweet is making you giggle. 

He looks way softer than he was that night, and you can almost forget about how scared you were – how you were thinking that this would be the end for you, that one, overthinking part of your mind already making up the scenarios of getting martial lawed because of the broken curfew. You can even see his hair – and fight the urge to touch it a little. He is still who-knows-how-old and still a military presence in your peaceful country. 

You still want to ruffle his hair. 

He still wants to take your clothes off and make you his. 

— Nein, thank you. 

He stares at the cup for a good few seconds – if he wants to drink, he needs to actually take it off. He has many scars on his face, and his mouth sometimes feels like it has more dead skin than alive one – he doesn’t want to attract attention. Some people are already staring at his badge and how awkward a giant man like him looking in that cozy, tiny place – but he also wants you to see how much pain he can withstand without getting killed. How he can protect you from anything because there literally isn’t anything he won’t do for you. You would appreciate a man with scars, it’s a sign of bravery, right? 

Then he thinks about all the times he would take off his mask and how people around him would look at him – with pity, with fear, with disgust sometimes even though he is certain that his face isn’t as deformed as some other parts of his body. He even almost managed to grow a beard once! Then he had to scrub it all off because hair was growing in very uneven patches and he looked like something crawled on his chin and died. 

König fought in countless battles, spent his youth training to be the best killer possible, took part in many major conflicts and killed hundreds of people while feeling nothing but recoil. He isn’t afraid of anything – except for talking to people sometimes, maybe, and even now he is trying to work on it with his therapist, instead of just killing anyone who looks at him funny. He isn’t afraid of the dark, of death, of uncertainty in his life. But he is afraid of you looking at him unmasked and thinking that you, in fact, find him disgusting. 

You almost want to take your time to look at what he will do – is he going to take off his mask? Is he going to drink right through the fabric? You have too much work to just stay at his table and stare, even if you want to – but you are trying to give him occasional glances as he just…sits at his table. Not even moving, just staring at the cup and sometimes moving his head to look at you – or just ornaments at the wall behind you. Yes, probably the ornament. 

König sits at the table and, well, he doesn’t even want to drink his coffee because just looking at the way your ass sways under that terribly short skirt is enough to set him on fire. He wants to take you home with him – even though his home is all the way up in Austria. He would take you, you probably wouldn’t even be mad at you – you could be a perfect little family. He already waited too long to start one, never finding anyone who would win his heart for a long run but he was sure that this three-days-obsession would last long. He isn’t sure, however, if he likes it or not. 

He ended up not drinking at all – he knows that he can’t just waste multiple hours, he already got his lieutenants covering the spot with paper work while their commander is away at searching for the love of his life. He wants to be with you longer, probably walk you home again and make sure to protect you from any creeps that would want to attack. He can’t have that, it’s obvious – he is a colonel, unfortunately, he is still on the hunt for those terrorists, he can barely give himself an hour of free time these days. 

He already indulged in his fantasies too much when he folds a 100 Euros banknote and puts it into the bill – not sure about how much money it is here, not wanting to give you any trouble with exchanging currency, he just hopes that would be enough for you to at least not worry about food for a few days. Or buy yourself something nice – what girls like these days? Guns, books, some fancy lip gloss, a hat for their adorable little turtles? He would buy you a pet turtle, he always wanted one as a kid – right before his father said that all lizards are products of sinful corporations and a lazy pet like a turtle, unlike a giant dog breed, is completely useless and unmanly. 

He doesn’t want to be here when you’ll get the bill – he is too afraid that he didn’t gave you enough, that you'd be disappointed. He would love to give you more, of course, but he doesn’t want to just shove you the money like you are some sort of cheap whore – he wants to give you gifts, something meaningful, to steal you from poverty altogether. König is an expert in infiltration and escaping arts, he can exit the location without anyone noticing a thing, even with his size – and then you look at him, directly into his eyes, covered by sunglasses – and your face is twisted in shock as you realize what exactly he left you. 

— Wait, sir! Please, I…god, I will get you the change right now, I’m so sorry, it’s closing shift, I…I’m sorry, I completely forgot…

You are almost begging him to stop and let you give him his money, a honorable deed really – but all he can think of is how nice you would look on your knees, begging him to fuck you already. How perfect you would look all whiny and spoiled, asking him for something expensive, whatever your cute head would want. You would look so complete on his lap, tugging on his shirt and asking your daddy for a new toy. You would…

— It was a tip. Take it. 

He wants to be able to tell you how perfect you look, how he wants to just throw you over his shoulder in a totally non-creepy way and make you his little wifey. How he would take multiple months of leave to just be with you, marry you, breed you. He wants to have a way with words, but they are useless to him – he can’t even say he likes you, it’s embarrassing, he is almost forty, he got his rank as youngest colonel in history of KorTac, he can literally have almost everything he wants – except for basic social skills. 

He feels like a creep, an old man trying to steal that perfect girl from the shiny world, and he hates himself for it – but then you blush and he can almost convince himself that yeah, you like that creep too. 

— I…shit, I mean, sorry…thank you, sir. 

— Don’t wander at night again. 

He feels like a scolding father and you giggle again, too innocent and naive to understand his thoughts. 

— I won’t. Promise. 

He then slowly leans closer, puts a hand on your shoulder again – goosebumps are running on your skin. His head is near yours now, he is whispering in your ear – and you are almost sure that you shouldn’t have come closer to him like this, that it’s unprofessional from your side, that everyone is staring at you. They are – and you try to ignore it, but…

— Wear shorts under your skirt next time. Never know who might look at your legs like that. 

You would slap him here and there. You would scream and run away right now, but for some stupid, dumb, completely terrifying reason, you…almost like how protective he sounds. And the money he gave you is also helping – even if just a little bit. 

König looks at the way you blush even more, and he knows already that he won’t ever let you go. 

Tag list: @iwritesjud3

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[stagefoureddiediaz]

We’ve been looking at this all wrong the entire time...

So my brain is a weird place that I don’t fully understand, but sometimes it connects dots and I figure something out that has been staring us in the face the entire time! Lets just say it explains so many things - right down to the very pointed use of tommy calling Buck Evan!

This all stemmed from me looking at colour theory and costuming for Buck and Eddie (and by extension Tommy) season 7 again, because I was going to try write the buddie costume metas for episodes 9 and 10 that I never managed to get done before we started season 8 I will hopefully get to those posts, but this post - while technically about Tommy and his costumes (yes me ant Tommy person writing a post on him I know!) it does also look at the costuming for Buck and to a lesser extent Eddie more widely across the season and what the colours used actually mean - getting some distance and some time on the season has been a blessing!

Im not going to go into it in detail, but, broadly speaking the show has given each character a signature colour - this doesn’t mean they wear it all of the time - but they do wear it a lot of the time and especially in key scenes - characters can have more than one key/ signature colour, and it can change and develop over time. We can ignore season 1 because it was a pilot season and very often shows won’t choose to establish a signature colour for a character (911 s1 is all over the place from a costuming perspective - because they had several designers working across the 10 episodes but since s2 we’ve had much more continuity with Alayna Bell-Price at the helm for most of it). So for example Athena’s signature colour is mostly black with white and khaki green also in the mix. She’s moved away from that subsequently - wearing less black and more white/creams but both colours are still staples of her wardrobe.

Eddie we all know mirrors Athena from a costuming perspective - his signature colours are also black and khaki green with some white/cream as well. The khaki green was much more dominant than the black to begin with - which played into his military past -  that had evened out on the black and khaki front whilst the cream had stayed fairly steady, but now we’re also starting to see a little bit more of it as well as some darker blues. this mirrors Athenas own journey t healing - the more she heals the less Khaki we see and the more white/cream - Eddie is starting to follow the same path from a costume perspective. 

Bucks signature colour has always been blue, but he also wears a fair amount of yellow and grey, so those are his three colours. He obviously wears a lot of other colours, especially white, but white has its own specific use in Bucks costumes that sits separately from his signature colours. 

We all know about yellow/ blue and green blue colour theory - I’ve gone on about it enough (especially yellow blue colour theory and its queer coding) and others such as @lover-of-mine have as well. Well both yellow/blue and green/blue continued to play out in season 7, I’m not going to go into them in too much detail - there are posts on my pinned post that cover that much better and I want to get to the good stuff (and I know you all do too!) 

We do need to remember that Buck and Eddie very very rarely wear blue and green in scenes together - if Eddie is in green Buck won’t be in blue, and vice versa - this is because of the ties to blue/green being Buck and Eddies break up colours - the colours they wear opposite their respective girlfriends when the relationships are ending. This is a little less set for Eddie - who actually wears white/cream much more when he’s ending relationships than blue or green - but the one time he has actively done the breaking up he was in green.

As I was starting to do a bit of work on the 7x9 and 7x10 metas, I ended up going back and looking over the Buck and Eddie costumes for the season as a whole, and how Tommy fit into all of that as well - as we’ve all been billing him as Eddie lite.

While I do still think there is an element of Tommy being Eddie lite, I don’t actually think that is what the show has been doing -that concept is a bit of a red herring. I’m sorry that this is likely to get a bit convoluted and wordy - but my brain is  still reeling and incoherent so bear with me - I hope it all makes sense.

Right this post is super long so the rest is going below the cut! I hope you enjoy!

Because I was looking for Eddie and Tommy parallels in the costuming for the season, I had been looking at the choice to put Eddie in red/black for his dinner date with Kim and Buck being in green for the scene at Bucks loft, and the fact that back in 7x04 Tommy had been dressed in the same colours - a red henley which was shot with black giving it a red/black colour way. I naturally started looking at the other Eddie - Tommy costume parallels - and there are plenty - lots of the khaki green we see Eddie in - playing into Tommys own military background.

These are Tommy’s scenes - where he wasn’t in uniform of some description (which is a good chunk of his scenes to be fair) 

7x04 

at the hangar - white tee, greenish stone coloured shirt and a tan jacket with stonewash jeans

at the court - light grey marl cut off hoodie and bright blue shorts

at Bucks loft - red/black short sleeve henley and stone wash jeans

7x05

at the restaurant -dark khaki green shirt (I would also like to point out the blue green colour theory here with the addition of tommy having a blue phone case - which is relevant later I promise!)

coffee meet up - light grey henley and navy blue hoodie with mid wash jeans

7x06

karaoke club - navy blue short sleeved henley

7x10

light grey marl tee and greenish denim shirt 

So what you can see from this is that besides the use of henley’s, the only time we get actually get direct reference to Eddies costuming is through the use of khaki green and his first outfit at the hangar. There is of course the direct parallel of the red/black colour way I spoke of before, but, beyond that if you look you’ll see that Tommys outfits actually parallel Bucks far far more. I would even argue the Henley’s are more similar to Buck than Eddie - because they are short sleeved and Eddies are invariably long sleeved.

Bucks colours are blue and grey - and so are Tommy’s - particularly in scenes that are 1-1 with Buck. What I’m trying to get at and will explain is that this has never ever been about Tommy being Eddie lite - this is all about Tommy being Buck - Buck’s subconscious if you will. (I know you all this I’m completely mad at this point - but stick with me!) I have a lot to say about all of this which will explain the why of it all and how we ended up here so we’re going to go through it Tommy costume by Tommy costume!

Lets start with the hangar scene - the most Eddie like Tommy looks throughout the entire season. this is very much intentional - this is about the red herring of it all, but it is also about Eddie (I’m not discrediting anything we’ve talked about regarding Tommy being Eddie lite etc - it is all relevant - but that’s what makes it such a good red herring!) and about Buck being an unreliable narrator. This is in part why we also still see Buck in his too short trousers and his white sneakers. This is his journey (the sneakers), but he’s still trapped in his old self at this moment in time - but aware that he doesn’t fit his skin anymore (as an aside I will be writing a post about Bucks trousers and their changing fit throughout the seasons at some point soon!)

Script wise the key lines are plentiful - the entire scene is full of double meaning. We get Buck stating that he is ‘happy where he’s at’ and Tommy’s response of ‘you’re thinking of changing things up’. viewed through the idea that Tommy is a version of Buck, this then plays out as an internal conflict - a battle about wanting what you already have - being happy with what you have, but also wanting to change things.

Eddie saying ‘you aren’t thinking of leaving us are you’ and Bucks response ‘I’m keeping my options fluid.’ Eddie needing reassurance that what they have isn’t going to change, while Bucks reply is about him not really being sure of himself - of who he is - keeping his options open because he’s figuring out if he wants to change - the line is said to and directed at Eddie so its about Buck keeping his options open about possibly changing their dynamic - becoming something more, even in the face of Eddie not wanting things to be different.  Tommy stating in this scene that Buck doesn’t need to leave the 118 to get certified to fly - that its something he could do for fun on his days off - becomes even more loaded through the internal monologue lens - Buck considering how he can stay at the 118 and have the joy, fun and benefits of ‘flying’ when he isn’t at work - that he could fly with Eddie (Eddie going flying with Tommy to do something fun and date like is a very literal visual metaphor for Bucks internal monologue - showing him what it could be like if he changed things up). There not being three tickets - only two is also important - its again a metaphor this time about how if Buck and Eddies relationship changes - it would only change for the two of them - it would become a relationship that doesn’t have room for another in it. When I say that’s about Chris not being involved it sounds really harsh, but the reality is Chris cannot be a a part of Buddie - he cannot be a part of something romantic. it isn’t saying Chris isn’t important or central to Buck and Eddie - simply that he cannot be a factor in a romantic relationship - that has to be just between Buck and Eddie alone - its kind of about Eddie (and also to a certain extent the same is true for Buck) not being able to hide behind Chris anymore when it comes to Buck.

Fundamentally its all tied back to his death in season 6 (we even get the being struck by lightening reference from Buck just to bring that aspect home) and subsequent resurrection and rebirth  (post linked on my pinned post if anyone wants to read it!). we have to keep at the front of our minds that Buck has died and that is still playing on his mind - its still influencing who he is and who he is becoming and it was all throughout season 7 - even if it wasn’t obvious or stated.

The basketball costume is actually the one that has always stood out for me - Its the most Buck outfit of all Tommys outfits. The bright blue shorts especially. 

So in that scene, which we know is supposed to read as being from Bucks view point, not only are we getting golden haloed super happy bouncy Eddie - Eddie the way Buck sees him -  but Buck is also projecting and seeing Tommy in the place he (Buck) has always existed in. It’s a visual representation of what Buck talked about with Maddie and Tommy replacing him in Eddies life.  Its unreliable narrator buck in visuals he’s seeing Eddie replacing him with Tommy - occupying the same places Buck has and more - from the calendar to the basketball court.

But that’s actually wonderful, because not only does it give us information on how Buck views himself (as expendable/replaceable) and how he thinks others view him - because if he thinks he’s similar to Tommy (which for a purely visual stand point he is - Lou looks more like Oliver than Ryan) but it also gives us information about the reality of how much Buck is actually intwined in Eddies (and Christophers) life - its telling us that Buck is in fact on Eddies calendar (and therefore fridge - fridge magnet theory for the win!) and how much space and conversation he occupies in the Diaz’s everyday life.

So he isn’t actually seeing Eddie in Tommy at all - he’s actually seeing the version of himself he doesn’t think he is but wants to be in Tommy. The version of himself that takes Eddie to vegas etc - that’s the Buck that Buck wants to be - the one openly flirting with Eddie and taking him on dates etc. That’s why the vegas fight is so seemingly ott (especially when you think about the fact Tommy and Eddie have known each other a week or so at most by this point) its the grand gesture Buck wishes he could be making.

All of this also makes Bucks ‘attack on Eddie’ more telling (it’s still the boy pulling the girl he likes pig tails in the playground concept) because Eddie is being receptive to all of these advances by Tommy - adding further weight to the Buck being jealous of and threatened by Tommy. 

Tommy is this version of Buck swooping in and doing all this stuff that Buck wants to be doing (subconsciously still at this point - willful ignorance be winning) but either didn’t know how to or didn’t know Eddie if would be receptive to. Remembering that this is all Bucks viewpoint of things its essentially Bucks brain showing him what dating Eddie would be like and Buck being Buck misunderstands what his brain is telling him (forever misunderstanding the assignment).

There is a second aspect to this and it ties into Tim’s comments about the hamster wheel Buck has a been stuck on and it being time he got off it - the hamster wheel is actually multifaceted and has more than one meaning. The most important is that the hamster wheel hasn’t ever been about his relationships or about the women he’s dating (or men now). The hamster wheel he’s stuck on is actually the fact that he’s built this strong relationship and family with Eddie and Chris - (you don’t find it son you make it) and its something safe and stable and predictable in his life. Getting off that hamster wheel is about being brave and moving that relationship - that family dynamic onto the next level - removing the platonic aspect of their family and making it a fully formed family for real - romantic love and all - so the ‘platonic’ family is the hamster wheel he actually needs to get off of. 

The other aspect of Tommy actually being Buck and the hamster wheel of it all is that hamster wheels are solitary pursuits - the implication is that Buck is the one standing in his own way - and coming back to the basketball game we see that played out in the moment where Buck tries to literally run through Tommy - only you can’t act out at yourself, and Tommy is a literal solid unmoving barrier and Buck won’t get past himself by just trying to bulldoze his way through.

This all then plays into the final Buck and Tommy scene of the episode - in bucks loft. I already spoke above about the red/black of it all, but now with the added concept of Tommy being A version of Buck things start to become more interesting. The red/black of it all is a warning (and the poker date red/black velvet suit and eddies red and black suit from s6 actually play into this as well!) - its dark romance - ‘forbidden’ dangerous romance or love. So for Eddie and his date with Kim that meaning is very self explanatory. The two season 6 suits are also fairly self explanatory - for Eddie again its the dangers of looking for romance that isn’t on your own terms and for Buck at the poker game its about the danger of falling in love with the person you are when you aren’t being truly yourself. Tommy being a version of Buck and this concept is a little more murky - essentially is about a similar thing to his poker suit - with a twist - its about the danger of seeing more value and loving a version of yourself that ‘used to exist’ as well as a version of yourself that you think will make you more attractive to others.

We do also need to Talk about Bucks costume here as well - the fact that it fits him almost perfectly - he’s in well fitted if slightly loose jeans and a navy shirt that isn’t tight with buttons not clinging on for dear life (to the same extent). The colouring is still on the dark side - so its not entirely positive - much in the same way that other scenes with buck in a dark navy shirt are moments where things go a bit askew for Buck (think the  taylor ‘I kinda love you for it’ scene from s5 as an example). The implication is that - before Tommy comes along Buck is at his most content with who he is - he’s fitting into his skin better than he has in a long while but it’s not perfect. This is key, firstly because of how the scene unfolds and secondly, because of how he is then costumed from here on out for the rest of the season.

I do also want to mention the yellow blue colour coding in this scene and that is mostly done through the lighting - Buck is in blue and the light behind him is always yellow - he is surrounded by yellow light. In contrast - Tommy is barely touched by the yellow light - not until Buck starts to figure things out - then we get him briefly touched by the yellow light - the rest of the time he is lit very cooly - which is in contrast to the warmth of the loft - and further plays into the idea of Tommy being a stand in for Evan - Evan who isn't loved and accepted in the same way Buck is - Evan who Buck needs to learn to love.

If we look at the script for this scene, it also fits in perfectly with the idea of Bucks internal monologue.  Tommy and Eddie being ‘buddie’s’ making perfect sense is a literal aside to the audience telling them that Buddie makes perfect sense - but it is more than that. This is where I have to bring up the ‘Evan’ of it all. I know a lot of us shudder with horror because of the fact Tommy only ever calls Buck ‘Evan’ and how both jarring and rude it is. How it shows how little Tommy knows Buck. We’ve always known it was being done intentionally. Well, if we view the use of Evan through the lens of Tommy being a version of Buck and things become clearer.  Because Tommy is basically the old version of Buck - the Buck who existed before he knew Eddie - before he joined the 118. And this is where the choice to bring back Tommy specifically for this role becomes a really smart one - because ‘Evan call me Buck Buckley’ was Tommys replacement at the 118. Tommy who has a problematic past that has never been dealt with on screen. This isn’t about the nature of the problematic past. This is the show playing on the idea of Buck’s software upgrades - before Buck 1.0 there was Evan, and using who Buck replaced at the 118 as a plot device to actually dig into Evan more so that Buck can deal with, accept and move on from Evan and become who Buck is meant to be.

Tommy saying he couldn’t replace Buck furthers this - because Buck cannot go back to being Evan - Evan can never replace Buck. invoking Christopher adds weight to this - because Chris never knew Evan - he’s only ever known Buck and Buck is ‘his Buck’ and irreplaceable. Tommy then stating his jealousy is about Evan feeling the lack of family that he grew up with - the recognition that as Buck he has made a family for himself - Bucks assertion that Tommy (Evan) was a part of it is valid - because without Evan Buck couldn’t build the family he has. The entirety of this conversation is about Buck choosing to ‘get to know’ his past (remember this is coming of the back of Buck crossing out the ‘LEY’ on his nameplate in s6 and his struggles with his parents acceptance in that season before the lightening strike), choosing to learn about Evan and embrace him as a part of Buck.  

Bucks assertion that he was ‘trying to get [Tommys] attention and it being exhausting’ is part of that as is the confusion Tommy expresses. The choice for Buck to use the word ‘exhausting’ - it’s Bucks subconscious trying to get his own attention - its his subconscious telling Buck that he’s exhausting himself by not listening to what his inner voice is saying. It’s of course a play on Buck being called exhausting by other people (and is perhaps why he doesn’t have the confidence to listen to that inner voice) and that also plays into the Evan of it all and how Buck views himself. Tommys confusion also plays into that - bucks own mind is confused - it was getting ready to ‘pursue’ Eddie but now we’re pivoting into what is essentially self love.

The continued bringing up of Eddie also makes sense with the contact of Tommy being alt Buck - because Eddie Eddie Eddie fills Bucks heart and mind - Both Evan and Buck recognise Eddies importance if not his full relevance in this moment. The resulting kiss then becomes less about Bucks bi awakening (I am not diminishing the importance of that in any way shape or form - its a vital aspect of Bucks journey) and more about Bucks decision to pursue loving himself - this ties into his statement ‘it wasn’t about me wanting to leave the 118 - it was about wanting to get to know you’ - its about Buck wanting to get to know himself - on the other side of his death and resurrection. It’s a continuation of his comments about Natalia ‘seeing him perhaps better than he sees himself’ - it’s about Buck starting to see himself better now he’s died and essentially been reborn and bout Buck now being in a place where he feels ready to confront that idea of being reborn and becoming someone new.

At the restaurant in 7x05 we have Tommy in an Eddie colour, but in a shirt that is much more Bucks style. There is also the green/blue colour play with Tommy stating Buck isn’t ready and Tommys ‘mismatched’ clothing bears that up - the play is on Bucks lingering confusion and uncertainty about what he wants - is it the Eddie side of things we’re pursuing the self love of Evan aspect we’re looking to explore? The entire scene is not just about Bucks first ‘date with a dude’ its also about Bucks fumbled attempts at self love - at not getting it right - its why Bucks outfit doesn’t fit him- why they’re now too big and baggy (I wrote about this in my costume meta for that episode - which like all the other costume posts can be found linked on my pinned post).  The innuendo about closets and Buck going into masculine bro mode is as much about his nervousness about being on a date with Tommy and being seen as it is about the fact that a man practicing self love is still taboo and so often met with derision - hiding that you are pursuing that is a kin to hiding queerness - at the start - until you get to a good place with it.

We side step into the Buck and Eddie loft scene briefly to look at Bucks confession to Eddie - I could write a whole thing on Eddies acceptance of Buck and its importance - but that is for a different post that isn’t already a million words long! what I want to mention in this scene is the why Buck can’t stop thinking about Tommy of it all - how it is essentially establishing the idea that Buck is starting to listen to himself.  He can’t stop thinking about Tommy because it isn’t Tommy he can’t stop thinking about it’s actually himself - Evan - in a learning to love himself and embrace who he is and was kind of way - all being done through a bi lens. it is essentially about Buck doing the thing he needs to do to be ready for a forever relationship with Eddie - which is love and accept himself - all of himself and acknowledging that to Eddie.

Buck switches back to better fitting clothes for the coffee date - and tommy is now dressed back in Buck colours and no trace of anything resembling Eddie in sight - making it clear that Buck has chosen to pursue himself. To get himself to the place he needs and wants to be first - the line about not knowing what it is he’s ready for but being ready for something is key - its a very self love line, but it also puts a very clear time frame on things - it makes it clear that Tommy is not endgame - because Bucks choosing self love and embracing and understanding ‘Evan’ isn’t his end game but a part of his bigger journey - a part of becoming who he needs to be to achieve what he actually wants - to get him to his endgame.

Then we have the Karaoke - brief scene(s). There isn’t really a huge amount in these scenes. But I do want to point out two things - the awkwardness of Buck and Tommys hug - and how that plays into the tentative nature of Bucks self love journey - and also Eddies behaviour towards Tommy - and the way it was very very clearly a lot cooler than we saw in 7x04.

We all jumped on the Petty Eddie train - and I agree there is an element of that. But - there is also the fact we are not seeing that scene through Bucks eyes - its through external eyes and we are therefore seeing the actual reality of Eddie and Tommys friendship - in that it isn’t this heightened date like - flirty new love type relationship - its simply two people who are loosely friends. Its remarkably normal and no threatening - only furthering the entire purpose of 7x04 being from Bucks viewpoint and Tommy being an alt Buck rather than an alt Eddie. It also therefore serves to further establish the Buddie of it all (but we all already knew that!). Tommy is still in Buck colours and the short sleeved henley is still something I would put more into the Buck costume camp than the Eddie one - especially in this season! 

The final Tommy scene and costume is the date at Bucks loft and the conversation about daddy kink. I still don’t like this scene (which has a lot more to do with execution and the script than the actual daddy kink of it all) but I am much more sanguine about it now that I understand what it is setting up.

Bear with me here I probably won’t make sense, but with the knowledge that Tommy is actually buck lite - a less good and developed version buck (Evan and in part the version of Buck that Buck himself thinks he is) the daddy kink scene actually becomes about setting up Buck addressing his past and his actual real daddy issues - because bucks past self sees his worth in those issues and without them it means both Evan and Buck have no worth. Buck confronting and dealing with them and choosing to forgive and move on means the end of Buck and Tommy because Tommy is no longer needed - he has served his purpose and Buck would be ready to start his future - Evan stays in the past and Buck completes his rebirth and closes his lightening strike arc.

Onto Bucks season 8 journey - Bringing Gerrard in to Bucks arc rather than the others who have far more connection to Gerrard now begins to make much more sense. Tommys past under Gerrard actually echoes Bucks past - in different ways and to vastly different degrees, but the parallel is there.  S1 Buck being a play boy and sleeping around and not treating women especially well (objectifying them etc) because of his own hang ups - is a pale echo of Tommy being closeted and racist sexist and homophobic under Gerrard. Like I said before - Buck is a pale imitation to Tommy here and that’s intentional (more in a sec) because once Tommy is under the wing of Bobby when he takes over the 118 we see him begin to grow and change. Buck follows the same pattern - Bobbys guidance pulls him away from his destructive behaviours and sets him onto the right path (Bobby is arguably the birther of Buck - Look I could write a whole thing off the back of my death and resurrection of Buck post about Bobbys role as God - the heavenly father - in Bucks life and how that is the overarching theme of Bobby and the show but I don’t have the time tbh!) to ‘redemption’.

Bucks behaviour is very intentionally not as bad as Tommys behaviour, because if Tommy is the plot device meant to essentially represent Bucks subconscious and how he views himself, then the reason we haven’t been shown Tommy atoning for any of his past sins and behaviours is because Buck hasn’t forgiven himself for his own. Buck is his own worst critic and will self flagellate to a ridiculous degree - and again with him being an unreliable narrator - he views his past indiscretions as being the equivalent of Tommys - therefore in his mind he hasn’t yet done enough to deserve absolution (Buck and Bobby being father and son in this as well!). 

Which brings me to s8 and the return of Gerrard and what Bucks arc is going to be (this is slightly incoherent and not fully formed - I’m still percolating!). Gerrard being central to Bucks arc - and Bucks push back is imo going to be about Buck taking a good look at himself and recognising/ facing up to and accepting his past. And that actually does come down to the daddy issues of it all. Because if Bobby is as good as Bucks dad - and allowed him (and his subconscious in the form of Tommy) to develop and grow - then Gerrard is Phillip Buckley (obviously a heightened more terrible version of reality in the same way Tommy is a much worse version of Buck) who parented Evan through apathy and taking the easy route - we saw Evan pushing back against Phillip in Buck Begins and being rewarded for it and thus establishing Bucks self destructive and self sacrificing pattern of behaviour. Acting out and getting hurt got him attention - so Buck acting out against Gerrard is this reduced and will ultimately have the same results just in an essentially more destructive way.  This is is a good thing - because this is about Buck recognising that he is worth and acting out etc is detrimental to him progressing as a person - its going to actively prevent his self love journey to flourish (and this is why in part I maintain my belief that Tommy is going to, if not encourage Bucks behaviour, then at least tell him to go along with Gerrard demands - for an easy life and also part of why I don’t think we’ll see a huge amount of Tommy - at least to begin with - until we get to a point where Buck is really motoring on the self love journey and getting to the point where he needs to do some pre break up face to face conversations that move him forward!).  It’s about forgiving and accepting his father for how Evan was raised - Bucks arc is going to be about forgiving himself and allowing himself to be happy, and he cannot do that if he doesn’t go through the Gerrard stuff - which is essentially a type of therapy. That’s also where I think the golf comes into it - it’s a metaphor for Buck building bridges, gaining understanding and accepting his past with his father - the metaphor of the driving range being the idea of standing side by side and performing the same thing, but landing in different places. There is also the concept of improving ones self and choosing to not repeat the mistakes of the past.

It also means the thing Tim said about Buck and Tommy becoming more comfortable with one another makes much more sense, and why he’d flip the question to talk about Eddie and about Eddie feeling a bit left out in the cold but not out in the cold! Buck is becoming more comfortable with himself and while he’s doing that and learning to be happy etc as I described above. Eddie is going to feel left out - because this is about Buck not Eddie - because it’s about Buck being ready for forever with Eddie - and Eddie ultimately cannot be a part of that journey - Buck has to do it for himself in the same way that Buck cannot help or be there while Eddie goes through his reckoning with the Catholic Church, and faiths place in his life and also dealing with the ghost of Shannon and his mother issues(because he has those and they are all set up to go in s8 - Chris being in Texas really sets that up nicely!

Bahaha Tim I’ve finally figured out your question answering methods and how they tell us all we need to know!! 

All this to say - Tommy is actually alt Buck - not Eddie lite (I mean he is still also that but it’s a bit of a red herring) he is a plot device for the biggest thing about Buck as a character and it all means Buddie here we come!

Thank you so so much if you have read this epic piece of waffle - I hope you enjoyed and I truly look forward to hearing all your thoughts on this and to you being as insane about it as I am!

Tagging some people who asked (and some who didn’t but might be interested anyway!)

@spotsandsocks @exhuastedpigeon @lover-of-mine @fruityfirehose @leothil

@bewitchedbewilderedbisexual @theladyyavilee @livingwherethesidewalkends @craigyxo

@izzysbeans @buddiediaz118 @inell @hotshotsxyz @winterskydragonx

[beannoss]

Do you ever think about how Endo said something like, "Fans think Twilight is kind, but I think he's actually matter of fact" and like... the profound philosophy of that?

Let's take it as writ: Twilight isn't kind, he is matter of fact.

And yet, that matter-of-factness manifests in ways that are, almost unerringly, kind. He values consent, he values empowerment for those around him (with some limits, if they impinge on his mission), he privately espouses and practices other values that align with progressive ideologies, like feminism and the rights of the child. Obviously he's 100% antifa and anti-war. One could argue (and perhaps this is what Endo means) that Twilight makes those decisions because they often result in the path of least resistance, making his job easier. And okay, maybe. Except that we're given to understand that the usual company Twilight keeps whilst on missions are the worst of the worst of people; and we've also seen that decisions along the lines of his values, when done publicly, can actually harm his missions (thinking, for instance, of the Eden interview; Henderson intervened on the Forger's behalf, of course, but that was essentially dumb luck). I think it's also true that we're meant to infer that before Strix, he'd started to become cynical or hardened (I often think of his initial reaction to seeing the old woman robbed, that his knee-jerk response is "She should have been more careful" and only when Yor directs her outrage in the right direction does his perspective shift/his compass correct). Even taking that as it is, his values quickly flow to the surface, so they can't have been that deeply buried, only needing someone to tap the ice to let the water flow. (have i lost the metaphor? nvm, you get me)

He lost everything and for a time he poured that devastating loss into destruction and wrath; watched how that did nothing but create more loss and more destruction and more wrath, and instead turned the devastating loss into what is, arguably, a profound act of love. It's complicated, of course, his turn to spying and the sacrifices he made and makes, and the motivations he has and the motivations he tells himself. But also, foundationally, to dedicate oneself to the betterment of society, in this case the eradication of war, because one wants to stop the suffering, is an act of love.

So circling back to Endo. We take as writ that Twilight is not kind; he is matter-of-fact. Taking who he is on the whole, the values he practices and those he prizes, the actions he takes and how they can be perceived, and one must conclude that to be matter-of-fact by Endo's metric is to act in ways which are perceivable as kind, compassionate, progressive and loving.

And I don't want to get too far down the track of how men are often written, particularly men of the archetype from which Twilight (superficially) comes, and certainly the archetype on which Endo is riffing (maybe more accurately, subverting?). But it is true that such a leading man is rare; to conceptualise their interiority in such a way is vanishingly rare. And I think it goes a long way, actually, to explain the tone of SpyxFamily overall.

No idea if this makes any sense but it's been eating my brain for weeks and I just had to get it out!

[ceratedfish24]

realised recently that all the amazing takes on scott are ALL from YOU‼️‼️‼️ /pos

as an avid scott fan and watcher it makes me really happy to see so many more things about scott that don't label him as abusive or completely remove/ignore him entirely

thank you for all the rarepair posts as well i am RABID over scott rarepairs

please please if you wish you can use this ask to go off about any scott rarepairs or mainstream (??) ships that you want!!!! i will sit and listen happily like a child listening to their favourite story being told to them because your takes are so right and cool

Aw I’m so happy to hear that! Thank you so much <3 It always brightens my day to hear that my posts can be a little light in a sea of hypocrisy and/or unnecessary negativity surrounding literally one of the nicest people in the life series.

I ADORE Scott rarepairs! He just has such great chemistry with everyone, and I love to dig a little deeper into why specifically they like about each other.

Majorwood – I’m honestly not entirely sure if this is a rarepair or a mainstream? I feel like a lot of people know of it but don’t see it unless they naturally watched Martyn or Scott’s Limited Life perspective, whereas a lot of people watched Jimmy and Scott’s 3rd Life FOR Flower Husbands or watched Martyn or Ren’s 3rd Life FOR Treebark. It’s in a sort of liminal space between mainstream and rarepair.

Anyways, I love these two so much if only because they were so at odds with each other for so long only to thrive once they put their differences aside and learned to appreciate what makes them individually such a force to be reckoned with. I think that their attraction towards each other was a very slow thing, something quiet and natural, and then Martyn having to bring Scott to yellow was the final puzzle piece that fell into place. Martyn’s possessiveness and protectiveness over Scott truly meant so much to me. He had so much respect and affection for Scott, that any betrayal or offense against Scott was an insult to Martyn, too.

In fact, I think Martyn may have had too much respect for Scott. I have always felt as though Martyn attacked Scott before he attacked Impulse because he knew that Scott’s reaction time was just so much better than Impulse’s and that Scott would have remained relatively calm, which would make him dangerous, whereas Impulse was caught off guard and panicked. However, I also think that, had Martyn killed just Impulse, Scott would have given himself over to Martyn willingly. I believe that that had always been Scott’s intentions, hence why he was so at peace with Martyn taking the last of his time. Sacrifice is not something that Martyn understands very well, especially not a sacrifice as significant as the last. I think Martyn respected how skilled Scott is to the point of fear, and it led him to underestimate the extent of Scott’s loyalty. Don’t get me wrong, I think Martyn made all of the right decisions. Eliminating Scott first ensured that there was no chance that Scott, who – no offense, Impulse – is definitely the more practiced PVPer between him and Impulse – we all saw him kill Impulse like 4 times back to back – wouldn’t fight back. I was screaming and cheering with delight and excitement when I saw that play. What a brilliant and fitting end to such a violent, starving series. Limited Life was definitely my favorite season until Wild Life.

Scottho – Speaking of Wild Life, OH MY GOSH WILD LIFE SCOTTHO MY BELOVED?? Something about how Etho was always so comfortable around Scott despite how little we’ve gotten to see them interact with one another always really spoke to me, but this season? The way Scott was so quick to embrace Etho into the Gs, even if it was a secret alliance, was so full of trust. There was no suspicion on Scott’s end that this was some kind of trick, that Etho had alternate motives for agreeing to join their team even though it had been Etho’s own idea.

There’s been quite a few accidental final kills in the Life Series, but Etho is known for picking whatever team will take him in the moment. The fact that Etho’s first reaction to accidentally killing Scott was “I was aiming for Joel!” was very unusual. Gem was right there, loudly excited that Etho had killed Scott. Gem and Joel were Etho’s strongest alliance, but he chose to make sure that everyone knew that he honored his promise to Scott above all, regardless of who it would put him at odds with.

Etho has affection for so many people in the Life Series, but affection is of little consequence in the Life Series. He’s said it himself. “Do you think I have a soft spot for anyone right now?” What Etho has for Scott is more than affection. It’s respect. He genuinely has so much respect for Scott’s playstyle, and you can tell that he was so surprised to hear that the Gs’ approach towards their teammates is not based on worth but on loyalty, especially what with how the Tuff Guys’ approach towards their teammates was so very strictly based on worth.

On top of that, Etho is very close to Cleo and Gem, who are both pretty similar to Scott in terms of humor. From there, he has absolutely zeroed in on Scott’s humor, just absolutely cross referenced the life out of how Scott’s brain works and hit the nail on the head. Absurd of him, in my opinion.

On a less evidence based note and a more delusion based note, Etho’s relationship with Scott is the kind that makes him want to kiss Scott’s knuckles and all the way up his arm until he reaches Scott’s jaw. Those two slow dance in their kitchen in the morning. Scott is the only person who can get Etho to get sappy. Scott is just so earnest and kind, and it makes Etho want to hold him in his arms and keep him safe and sound. Etho hates drinking coffee if it wasn’t made by Scott. It’s not the taste that bothers him; it’s just the principle of the thing. Scott loves Etho because Etho is a constant comfort who also knows when and how to make him laugh. Etho loves Scott because, though he may tease, Scott would never judge him for being vulnerable. They’re each other’s safe space. Etho would simply be the most gentlemanly partner to Scott, and it would totally work on Scott.

Unlike Joel and Bdubs, Scott is entirely neutral about horses. This frustrates Bdubs, who was hoping that Etho’s new boyfriend would at least be on his side in the horse conflict between Bdubs and Joel. Scott has been monitoring this horse war and reporting back to Etho about it as soon as Etho gets home. This is how Etho learns what “spilling the tea” means.

I may be writing about them celebrating the holidays pretty soon.

Scott/Doc – Hear me out hear me out hear me out. I know they’ve never talked even once, but hear me out. Big, strong, stoic engineer working in his lab all day + suave pretty boy who sits on Doc’s desk and is a general safety hazard the whole time. Doc getting frustrated with Scott, because how is he supposed to work when there’s a pretty boy flirting with him in his lab all day? Scott also has to make sure that Doc eats and sleeps and drinks water, and he uses all of these as excuses to flirt with Doc. He spoons food into Doc’s mouth while Doc’s working and asks Doc to make eye contact with him during it. He holds the glass up to Doc’s lips. He drags Doc to bed and complains that he’s so cold without Doc next to him. It works on Doc every single time, because it’s Scott. Doc isn’t about to say “no” to him. There’s few things Scott loves as a big, strong, competent man who only shows his soft side around certain people and is easily annoyed by literally 4 people. Additionally, the sum of the pettiness between the two of them? Oh heavens.

Doc really values loyalty, and there’s none as loyal as Scott. Grian would go to Scott to ask for secrets he can use to further annoy Doc, but Scott would not give anything up. We’ve seen before that Scott does not let up information about those he loves even if it’s just for a prank. The only person who Scott allows to prank Doc is Cleo, but only if Scott is also involved.

Thank you for the ask and for giving me an opening to yap about some of my favorite rarepairs!! I hope you enjoyed my opinions and headcanons!🩵🩵🩵

[howtofightwrite]

I love picking at plot holes like scabs so i want my fight scenes to be as realistic as possible. However. There’s a creature in my head that says a buster sword is SICK AS HELL. What modifications would it need to be even remotely wieldable while still keeping its central appeal (huge sword big blade cool and sexy) intact?

You’ve made a mistake. You mistook suspension of disbelief for realism. This is a common problem that gets in the way of a lot of fantasy and sci-fi authors. So, don’t worry. It isn’t just you. However, realism vs believability is where your hangup is. Stories don’t need to be realistic to be believable.

The quick and dirty (and possibly unhelpful) answer is to create a world that justifies your buster sword, not a buster sword that’s trying to justify itself in a world that doesn’t want it. You step back from the sword itself and away from a world where reality dictates that it’s too heavy, too clumsy, too slow, and ask yourself: “in what type of world does this thing make sense?” And there’s about a billion different ways to create that.

The hangup with the realistic argument is that all of fiction is a lie. Good or bad, that’s what stories are. They can be very compelling, addicting, manipulative, feel incredibly good, and still be fake. The goal of a creator isn’t just to create stories that are believable, but for your audience to want to believe in them. Storytelling is always a joint venture between you and your reader. You are the salesperson asking your audience to come along for the ride. To keep their attention, you’ve got to spin up a good yarn. Build trust. The world has to feel right, but it doesn’t have to be right. Reasonable, not right. The goal is to take a cool idea and work backwards to how your society got here so that when seen from an outside perspective, the choice ultimately looks like a reasonable conclusion given the surrounding context. One of the better ways to build your reasonable conclusions is by studying the history of technological invention from the beginning to the midpoint rather than starting with the end point—the results.

History is full of weird, wacky, wild attempts and failures at creation. You’re not the first person to look at a human sized sword and wonder if it could, in fact, hit good. Or, really, better than swords that currently exist. Or, fulfill a battlefield role the sword was currently not occupying. Or, as we like to say, have real battlefield applications. The Claymore, the Zwhihander, the Zhanmadao are all real weapons that saw real, if not necessarily extensive, use. Like all weapons, they were specialized tools meant for particular battlefield uses. In this case, mainly as anti-cavalry support.

Ask yourself, why? Not just, why would I want it? Ask, why would I use it?

What actual purpose does the big cool blade serve beyond looking big and cool? What function does it fill on the battlefield? Why use the big cool blade instead of other weapons? What does it do better? What are some offsets which might account for the massive size? Technology? Superhuman enhancements, mystical or otherwise? Gravitic fields? Magic? Why is the big cool blade better suited to ensuring a character’s survival? What advantages does it provide? What is its practical value to warriors within your setting?

The initial defensive reaction is that we don’t need a reason because we have the Rule of Cool. That could be the reason, but I challenge you to go deeper. Go deeper than, “this was the weapon my character was trained to use.” The followup question is: why were they trained to use it?

In the real world, we can answer these questions both from a personal and from a larger social perspective. We may not be able to answer whether we’d use a gun, but we understand why humanity developed guns, why we use guns, and the purpose they serve both for personal protection and in their military applications. The answers don’t necessarily need to be good or smart. What matters is that an answer exists to feed your audience. When your reader starts struggling to believe, they begin to ask questions, they pick at the fabric of the narrative trying to figure out why their mind has rejected the story they were previously enjoying. What we, the writer, want to create is a chain of logic underpinning the narrative and its world. This way, when questions are asked, a reasonable answer is ready and waiting. While we won’t win over everyone, trust that your audience wants to believe. Trust that they’re smart enough to figure it out without being spoon fed. That way, you won’t fall into the trap of infodumping.

Worldbuilding always involves a lot more happening under the surface than ever makes it onto the page. Your characters will be the ones to demonstrate and act on the internal logic that’s been created for them without needing a billion questions to lead us from Point A to Point B.

If we look at human history in a wide view, we find that weapons are a fairly steady march forward that matches a civilization’s technological growth. We keep what works and discards what doesn’t. The crossbow replaced the bow as the main form of artillery in martial combat, but we still kept the bow. The bow still had practical applications. Guns eventually replaced the crossbow just like they replaced the sword, but it actually took a very long time. We had functional firearms in the Middle Ages.

Ease of Use

Ease of Training

Lethality

From a military standpoint, these are the three most important aspects for widespread adoption of any weapon. Easy to use. Easy to train. Lethal. The longer it takes to train a soldier on a weapon the more time your army is losing out on using that soldier and the more effective the weapon needs to be in order to justify its expense. Why give your soldier a big cool sword if they’ll never get close enough to reach the forward line to make the assault? Why have them use the big cool sword if operating the laser cannon is more efficient, effective, and keeps them alive longer? In the coldness of battlefield calculus, it’s often better to have cheap, efficient units rather than more expensive ones that might be more lethal but take longer to produce. No matter how good they are, you’re eventually going to lose them. Therefore, easy replaceability becomes a factor.

If you can answer those questions (and the myriad of other similar ones) you won’t just have a weapon, you’ll have a world. You’ll have more than a justification, you’ll have battlefield strategy, tactics, and a greater understanding of how the average layman characters in your setting beyond your main character approach warfare and possibly a technological history. You might even have several functional armies.

Ultimately, this is a game of value versus cost. Most settings that use big cool swords sacrifice ease of use and ease of training to amp up lethality. The weapon having a specialized function or only being usable by a specialized unit helps if that unit’s battlefield effectiveness is justified. Or, you could just have a weird technological outlier where its effectiveness doesn’t quite justify its cost even if the individual warrior is effective. A good example of this is in shounen anime where one character has a specialty that no one else has, a really cool, effective weapon that never appears anywhere else, because the length of training, high skill floor, and finicky nature of its use make it difficult to justify widespread adoption.

The danger is assuming there’s a right answer. There isn’t one. The value in learning the rules of real world violence is so you can break them. This way you can tell the difference between the vital rules necessary for suspending disbelief and don’t accidentally break the ones you needed to keep your audience invested.

-Michi

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[so-i-did-this-thing]

this might be random considering i'm a nineteen year old cis woman, but still, i want to say thank you. coming across your blog today, your post resonated with me deeply and i simply became emotional and was positively influenced and healed in some ways, because i struggle with an extremely crumbling sense of self and have low confidence in myself because of my fear of people and social consequences. you have helped me feel more hopeful, to want to actually live and work towards a future for myself, you have helped me feel less scared about being truer to myself and making decisions for myself even if i seem "selfish" or "misguided" by other people. for the first time in forever, i am finally excited about my future, and for once, i am not angry at myself or resentful about lost time; even if i don't experience good things now, i now hope i can still lay the foundation so that at least my future self gets to be happy and true. thank you.

I honestly feel like a lot of the poor decisions we make are better reframed as the best decisions we had at the time, given our understanding of the consequences (real or imagined, because they all feel real in the moment). And we shouldn't hold our past selves reponsible for not having the perspective that our current selves now possess.

That said, being even a teensy bit braver and willing to be uncomfortable can pay off immeasurably, and it looks like you are already on that path. 🫂❤️

[thecoffinsys]

Slay the Princess is the perfect demonstration of trauma, dissociation, and systemhood.

I NEED MORE PEOPLE TO TALK ABOUT THIS. And it's NOT just for the reasons you may think. Yes, it is due to the multitude of voices, but that isn't all there is to systemhood. Slay the Princess dives into almost every fundamental stage of grief, trauma, stress, and body sensations regarding traumatic events that we as a collective have ever experienced. Stay with me.

SYSTEMHOOD

Not only does Slay the Princess display systemhood through the multitude of voices, inability to come to a conclusion on outerbody decisions, and having different methods of how to survive specific situations— it also displays systemhood through loss of time, depersonalization, loss of identity and sense of self, alters having abilities over the body that others do not, looping the same trauma over and over again, and rapidly splitting due to traumatic experiences — even down to not being believed by family members when you tell them something horrible happened to you.

The entire idea of jumping from one alternative world to the next after dying or making the incorrect choice perfectly displays a repetition of the same traumatic memory over and over again, the mind trying to logistically think of what could have been done differently as a means of coping with what really happened. When you fail to save the world in one reality, your mind restarts the entire scenario again, trying to find a better option to the mistake you've already made.

The Stranger rout perfect displays depersonalization, dissociation, loss of self and identity, and confusion regarding time. The second you step down a staircase, you completely and utterly forget yourself in the mundane action. Forgetting who you are, where you are, what your purpose truly is - and sinking deep within your own mind, until suddenly you're right where you are meant to be and have no memory of how you got there. It's so perfect in how it shows the confusion and distress.

This game is about becoming. whole. Gaining. A sense. Of self. And purpose. Gaining more perspectives, more understandings of what it means to be a person. (Oh my god I'm screaming)

In The Nightmare, the voice of the Paranoid displays perfectly symptoms of not only paranoia regarding trauma, but symptoms of OCD due to trauma. He has an ability that no other alter has, which is to keep their organs running by participating in his own compulsion. Which really displays how some alters have abilities that other do not, because to be a system, you must be fragmented. Several shards of glass attempting, to the best of their ability, to be a functional mirror- but never having the exact strength. And different shards will hold different capabilities than those who are smaller, weaker, and carry smaller and/or more specific burdens. Paranoid is a very big shard, I think.

Following that — mirrors are a huge motif of the game. Not only do you continuously see them in every rout, but you end each rout by finally looking at yourself and seeing you for you. And the more perspectives you gain, the less "you" you truly feel. You become tired, withered. But it is all in the efforts to "become whole". To make this being of perception finally understand what it means to be more than just broken worlds creating branching understandings.

In A Moment of Clarity, dozens of voices begin to cloud our understanding due to the very traumatic thing we experienced in the last world. A rapid split because of trauma! We become more broken; "losing ourselves". Now there are even more conflicting thoughts, feelings, and opinions regarding how we should go about surviving- and it displays our further descent from our sense of self. Which is ironic given the name of the ending!

And finally (but most definitely not finally, I could keep going on and on but no one would want to read all of that), The Narrator never believing you when you tell him you've been here before, have experienced horrors that he could never imagine, and have been through countless nightmares. But not only does he not believe you, he will also ridicule your idea, and go on to say "you failed because you didn't listen to me" or "you damned another world because of what you did". Puts the blame on us, once again. It's the same thing a lot of systems do experience in the real world. You try to reach out, you try to explain to someone you trust that something horrible happened to you, but you're met with disbelief and shamed for your own trauma. Made to feel like the guilty one when you are in fact the victim- the survivor. That one stood out to me very personally.

. . .

I really want to go on but this is already a billion paragraphs and I worry no one will even get this far. But this game means a lot to us as a system and as someone who experiences things very similar to what is displayed in the game on a daily basis. Slay the Princess might be one of our all time favorite games as of right now, especially considering the guy who traumatized us for 200 episodes straight is the main guy voicing the entire thing- that also helps with sentiment-

Uhhhh thank you for reading if you made it this far :]

[toa-arania]

Gender is such a fascinating thing in Bionicle because objectively why is it there? Why do the biomechanical maintenance nanobots of a giant robot have gender? Or, more accurately, why do they have a gender binary? The gender binary as we understand it is (unfortunately) heavily linked to biological sex, something that MU bionicles don't have. The logical answer is that the Great Beings gave them gender to be reflective of their own society, where there are biological beings that reproduce biologically and have a gender binary that presumably sprouted from that, at least initially. However, despite giving them gender, they didn't give them any kind of sexual dimorphism, and for this we want to look at some of the non-matoran species and how they interact with gender.

The Vortixx are a society heavily stratified by gender - being 'male' or 'female' is more like a class system, with females as the upper class and males as the lower, working class. It's very reminiscent of the Orions from Star Trek. Additionally, we know that the species is not sexually dimorphic. Yes, the species that produced Dommy Mommy Roodaka, with her heels, ass, tits, and ponytail, is not sexually dimorphic. We see in one of the comics that a Vortixx confirmed to be male also just looks like that, and honestly we love that for him. He even has the rhotuka ripcord that kinda looks like a riding crop. We know that the Vortixx were created by Mata Nui rather than the Great Beings directly, so is it perhaps possible that because their perception of gender made no sense to apply to the MU inhabitants, Mata Nui compensated by having gender present itself in other ways?

Consider also the Skakdi, where the only thing we know (at least as far as I'm aware) about their relationship with gender is that there are female Skakdi, and that they are more violent and destructive than the males. We have never seen one, and we know so little to the point where I actually thought for a while that the Skakdi were a single-gender species. Like the non-GSR characters in Bionicle, they were given their elemental associations separately from their genders, and we've seen nothing to suggest that gender has any bearing on their society aside from disposition.

Then we come to the Matoran. For Matoran, gender is quite frankly fucking bizarre. The Av-Matoran were the first type to be made, and they are also the only type that can be more than one gender. The doylist explanation for that is so that they can blend into other Matoran types better, but that doesn't make any sense because those other types didn't exist yet. We do have a quote from Greg about gender in the Matoran, where it's stated to be a psychological difference rather than a physiological one, where the 'feminine' elements are calmer peacemakers, which is an absolutely fascinating quote because it's completely untrue. It might be true about the Ga-Matoran (with notable exceptions like Hahli), but it sure ain't true of the Vo-Matoran and Ce-Matoran, where our two primary examples are Chiara (electrocutes a lizard to make the point that females aren't gentle) and Varian (tortures Norik with nightmares for fun). There's also Orde but I genuinely have no idea what to do about him. He claims that he got all Ce-Matoran made into women to make them chiller and it clearly didn't fucking work so other than I guess the pitch of their voice there just isn't any observable difference.

What is demonstrably true is how general disposition does seem to vary between individual elements, and since Greg has confirmed that gender in Bionicle is a psychological variation that affects outlook and disposition, I honestly do not think it's a stretch to say that, at least for the Matoran, each of the fifteen elements is a separate gender. Honestly this even makes the elemental prefixes neopronouns, from a certain perspective. The Shadow Matoran are also fascinating to look at from this angle because they don't ordinarily exist; they're made from other kinds of matoran - the fifteen 'standard' genders if you will. They don't call themselves Kra-Matoran because they aren't a defined group, and they never think of themselves as one. They go back to what they were beforehand perfectly fine and at least act better off for it - with one exception. Gavla (the only female Av-Matoran we actually meet, who feels ostracised from her community) wanted to stay a Shadow Matoran, a kind of Matoran outside the standard concept of what elements they could be because she felt wrong as an Av-Matoran, and as a Shadow Matoran she felt more like herself. All this is to say:

Gavla Bionicle is Transgender and Non-Binary, have a nice day.