#carry on meta

[soulmates-for-real-tranquility]

And there's the other side to this story. A sort of corollary. A harrowing one. Sam spent about 40 years on earth after he lost Dean only and only because he promised Dean. He got out of hunting, had a son and brought him up with all the love and protectiveness only because he promised Dean. He got old and feeble and sick and waited for death only because he promised Dean. And through it all, he never once stopped thinking about and grieving Dean. He survived just because he gave his word. To the brother who was his everything.

when Dean went to heaven, he drove till he met Sam. He d r o v e till he met Sam. He didn't care about anyone else. He drove till he met Sam. Do I have to say it more clearly? He didn't look for anyone other than Sam. While Sam lived his life on earth, Dean waited for him. Dean drove down that road until he met Sam. I'm drilling this into you because I can't get over the fact that even tho they spent their whole lives together, Dean was eager to see him immediately again. My heart.

[irrealisms]

everyone in mcyt fandom talks about bad inventories but i feel like we don't talk enough about the different types of bad inventory & the ways that inventories can be characterizing. i took most of these screenshots but one or two of them aren't by me and i've just had them saved for a few months sorry. i'm taking inventories from various people across various servers (wild life, dream smp, hermitcraft, lifesteal, and 2b2t) to illustrate my point here

like there are inventories that are bad because they're empty:

but then there's also inventories that are bad because they're full:

and, like-- the different ways an inventory can be bad are also characterizing? an inventory can be bad because the items aren't stacked; or because it's empty of anything useful; or because it's so full of building/fight supplies that there's no slots left for doing anything else; or because it's full of random junk. it speaks to a character's position (compare tubbo's diamond sword and empty inventory to ranboo's netherite sword or zam's full inventory of potions) and the rules of the server they're on (tubbo's not wearing elytra because elytra aren't allowed on the dsmp; zam's inventory has chorus fruit and wind charges but no ender pearls because ender pearls aren't allowed this season on lifesteal) and what their priorities are (building, pvp, lore) and how organized vs scattered they are and so much more. another inventory i like:

like!!! that's so instantly characterizing, for both the character and the server!!!! 5 stacks of end crystals + obsidian. 6 stacks of tnt. 3 stacks of god apples and a stack of chorus fruit as your only food. the bucket of lava and bucket of water for lavacasting. the fact that the flint and steel is enchanted with unbreaking. that's a STORY--of the character but also of the server! this is not the sort of inventory you have on most servers! it's so focused around griefing--explosions, lavacasts--and pvp, and the stacks of god apples as primary food source are an instant warning sign for widespread duping. the chorus fruit not for fights--ender pearls are strictly better, and he's got some so he clearly has access to them--which means it's for escaping traps, which means that's a live concern. it's got a lot of pvp supplies but it's so wildly different from the lifesteal inventory in ways that speak to the differences in server rules and cultures. like, horrendous inventory in many ways. also, very good inventory in some ways. also also, delightful inventory! fascinating inventory!!! inventories are such a delightful source of instant characterization i love them so so much

[secriden]

one reason i think liu qingge has such great potential is that he's one of the only characters entirely free from the PIDM narrative. because he dies early in PIDM, sqq isn't coming into every conversation and interaction expecting lqg to adhere to a preconceived script. this allows sqq to actually see lqg as a person and for his words and actions to be taken at face value.

i just think this is great potential for sqq to still be completely oblivious or in denial about lbh and yqy's attentions (because he's so fixated on how bad/complicated PIDM!sqq's relationships are with them) whilst also catching wind of lqg's growing feelings for him because he isn't hampered by any preconceived notions of what they're dynamic "should" be.

so give me sqq noticing the way lqg's mannerism soften around him, how his gruffness changes, how he spends more time just having tea with sqq even after his meridians have been cleansed as they start to have civil conversation about sect business. recognising lqg's care in returning his fans; seeking common ground over their shared love of monster hunting (even if lqg just cares about fighting them, can he maybe smash them in such a way that shixiong can study them afterwards?) and discussions on cultivation techniques and the differences between bai zhan and qing jing styles.

sqq who is so just so grateful to have someone in his corner, someone he feels safe with, who he doesn't have to second guess during every conversation. someone who was never supposed to be around by this point in the narrative, and so is entirely shen qingqui's.

[mae-i-scribble]

I'm sure this has been talked about plenty but I'm still awestruck at how well Frieren handles Himmel and Frieren's relationship. I have never seen the 'character haunts the narrative' story beat done to such effectiveness.

Frieren's regret is that she didn't know Himmel before he was gone- but he exists in everything Frieren does without her fully realizing it. Frieren is a fundamentally different person and we *know* it is mostly thanks to Himmel's influence. The constant flashbacks, the way in which Frieren's logic and everyday routines have been altered by his memory. She collect spells because he and the others complimented the mundane, random spells she had found. The way that instead of her master, Himmel is the person who the monsters choose to immitate.

The flashbacks too, are so so potent in characterizing who Himmel was- not only in regards to Frieren, but in regards to Himmel as the hero. The person who lead his group to kill the demon king. The person who did everything in his power to help those around him. The person who was so clearly in love with Frieren but understood intimately that Frieren would not love him in the same regard and even worse, would be walking a very long and lonely path.

Hell, it's at the start of every chapter, in which time is only kept by the years before and after Himmel's death.

It all comes back to him, in the end

[tyrannuspitch]

objection your honour this propaganda is NOT fair representation of snowbaz!! yeah the cover is okay but the CONTENTS of the book are capable of turning a teenage brain inside out (source: it happened to me.) thankfully as tumblr user tyrannuspitch i consider myself qualified to remedy this situation.

the basic concept of carry on is that it starts out as a parody, as the most cliché young adult fantasy book you can imagine, with every melodramatic speech and villainous flourish dialled up to eleven... and then it slowly but surely makes the inevitable gay fanfiction of its central homoerotic rivalry canon. my reaction the first time i read it was literally: "this shouldn't work. this shouldn't be allowed to be good." and yet it IS!

it's a Story About Stories. it's a love letter to the genre and a brutal genre deconstruction at the same time. it's intensely meta and genre-aware, but not in a cynical or undermining way - in an intensely compassionate one. it's both honest and EARNEST, both funny and genuinely heartbreaking, and these things are never in tension with each other - they flow into each other naturally as how people in extraordinarily terrible circumstances cope.

"doomed by the narrative" this, "doomed by the narrative" that, and yet none of you guys seem to care that tyrannus basilton grimm-pitch has been aware that he is the villain(tm) and he's going to have to be murdered so the happily ever after(tm) can happen since he was eleven years old...

it is [ao3 voice] a slowburn enemies-to-lovers arc, and again - it's executed so well. the hero (simon) and the villain (baz) are two young figureheads for opposing factions in their magical society, currently in a kind of cold civil war, always on the verge of tipping over into an actual war. they can't be in the same room starting a fight, and they've tried to kill each other multiple times. and. they're roommates. they are child soldiers on opposite sides of a war, and they had to grow up in the same bedroom. the intimacy! the yearning! the tragedy! you sleep next to this boy every night and you know what his shampoo smells like. and one day he's going to kill you!

THE LOVE TRIANGLE. of course there's a love triangle. but it's an m/m/f love triangle, and at least one of the boys is gay, so how can this be? the answer is that it's an intricate web of closet cases and increasingly desperate attempts at denial. and it's both genuinely interesting and incredibly fun. you've heard of lavender marriages, now get ready for: lavender infidelity!

vampirism as queerness. god, have i really not mentioned the vampires yet? well. of course, we all know that vampires are gay because they're sexy, sinister outsiders - but i think what this book does particularly well is setting up vampires as a legitimately unjustly persecuted group, and fear of vampires as a irrational and deeply damaging stigma. you do have to work for this one a little bit, but it's absolutely in there. simon showing compassion towards baz's internalised vampirephobia is key to the central turning point of the book!

this is a child soldier story. both simon and baz are used as weapons and pawns by their own families from a very young age. that means the story has to hold onto three simultaneous truths: firstly, that sometimes your parent is a terrible person, and you love them anyway. secondly: that even if do you love your parent, sometimes they're such a terrible person that you'll have to kill them if you ever want to escape. thirdly: that violence takes an immense toll on people, especially children, and forcing them to commit it is itself a form of abuse. so, yes, you can kill your abuser and be justified in it. but it's still a tragedy, because you never should have had to.

on a lighter note... the oft-screenshotted wikipedia page's table of contents reads as follows:

finally, i leave you with one of the songs from my playlist which i think most definitively captures the vibe(tm): sleep alone (bat for lashes)

thank you, and good night.

ROUND 1: POLL #46

ROUND 1 POLLS [HERE]

PROPAGANDA BELOW

Simon Snow/Tyrannus Basilton "Baz" Grimm-Pitch:

SnowBaz looking awesome

[SPOILERS]

Ren Amamiya/Goro Akechi:

They're rivals but obsessed with each other. Goro tries to kill Akira and fails, but not before he spills his guts and tragic backstory. Akira is the only person to make Goro question his worldview and start on the path to become a better person. They mirror each other perfectly, since they're both fighting for justice and a better world, but in different ways. SPOILERS: When Akira thinks Goro has died, he carries around Goro's glove as a reminder of their promise to be rivals and constantly oppose each other.

[veinsfullofstars]

💙 MetaDede Week 2024 Day 1: Sworn Partners (Free Day) 💜

(ID: Kirby series fanart, four-panel comic, of Meta Knight being exhausted and King Dedede offering a solution. Transcript in Alt Text. END ID.)

Partially inspired by this post by @das-a-kirby-blog.

Next Day | Prompt List (made by @mtddweek)

Started 07/31/24, finished 08/05/24.

[docdufresne]

I love Rvb season 7 and I love simmons and donut interactions

[metamatronic]

hey shoutout to middle school me, who (during the FNaF 4 era) drafted an AU where a vengeful Crying Child was the real murderer behind the entire franchise—having possessed his own father in order to kill his bullies and stuff their bodies into the suits as ironic retribution (the MCI), leaving a tragically confused William to deal with the aftermath and consequences. it’s not nearly as funny as what I ended up with but damn was it interesting.

[aflamboyanceofflamingos]

I have a dumb idea

The justice league (Minus Clark and Diana) thinks that Robin is an immortal being that changes form every 5-10ish years because Bruce never told them he had different robins

Robin I and Bruce having issues near the end was just due to the transformation coming near

Robin II only lasting so long and Bruce’s grief after they attribute to something going wrong with the transformation and do think Robin is dead

However when Robin III comes they assume that Bruce’s grumpiness is attributed to him being over protective after the disaster of the last transformation

The Steph comes and goes back to Tim and they’re all thrown but like maybe this version of Robin is genderfluid and they don’t want to be rude so they don’t say anything

And when Damian comes after 5 years it just solidifies this theory as well as Robin probably being genderfluid cause of Carrie

Yes the bat kids have come to the watchtower as Nightwing, Red Hood, Red Robin, and Spoiler

Bruce is unaware

The batkids know and are keeping up the act as they wait for the perfect moment to descend from the celing, all wearing the robin uniform and traumatizing the Justice League

[meteortrails]

obsessed with the contrast between how openly and blatantly law carries the impact corazon had on him vs how reserved and secretive he is about his family and flevance. like he tattoos his whole body and designs his Jolly Roger and names his crew in honor of corazon, but the only marks of his home he carries with him are his skill as a surgeon and the hat he’s had since he was a kid. he even keeps two of his names a secret!! idk there’s just something about this sort of external focus law puts on the grief that he can actually act on and assign specific blame to, vs. the much more internal nature of the grief that he can do nothing but carry with him alone. but then again, by a certain measure the mere fact of his continued existence is one of the most obvious declarations of his grief over his family and his country that he could possibly make, so who knows!

[thedaythatwas]

on nagito komaeda and love

I just think it’s sort of funny that for a character whose (arguably) most well-recognized CG is this: 

komaeda’s narrative so heavily centers love. and I don’t just say this because I’ve had komahina brainrot for years (though this is true!!). even if you don’t care about komahina, it’s tough to deny komaeda is a walking tragedy in large part because of the role that love plays in his life. his characterization is driven by the way his luck has denied him love, and how he seeks it out regardless. in that sense, I think that without understanding komahina as at least one-sided, you miss out on one of the juiciest, most miserable pieces of komaeda’s character development.

tldr; a love-centered reading of komaeda makes sense, recognizing komahina as “a thing” in DR2 (whether you ship it or not) is pretty important to understanding how komaeda operates, and I’ll try to prove it right here under this page break!!

Part 1: Komaeda’s Love Life (or, his life without love)

I think it’s safe to assume that if you clicked here, you know about komaeda’s absurdly miserable, tumultuous childhood, but I’ll do a quick recap just in case! meteor kills his parents on a plane, he inherits a ton of money. he’s kidnapped by a serial killer, he finds a winning lottery ticket in the garbage bag he’s thrown out in. he’s diagnosed with terminal cancer and dementia, he gets into hope’s peak.

in his free time events, komaeda *explicitly* frames his luck cycle as something that takes away the people he loves. it only “takes action” against him after his relatives have died (for the sake of this essay, let’s assume that komaeda loved his parents, or would have at least been hurt by their passing). by way of other close connections… well, his wording here implies that by the time of his diagnosis, he didn’t really have anybody in his life. 

either komaeda didn’t allow himself to get close to anyone after the meteor incident, or he did, and they were taken away by his luck. at some point during his childhood, komaeda learned he should view himself as a death sentence.

so, how does this loss of love shape the komaeda we know? I’ll talk about this in terms of four of his defining (and connected!) traits in DR2 canon – the ones that really make his actions make sense: his self-loathing, his hope-seeking, his learned helplessness, and his certainty that his existence poses a threat to those around him. komaeda’s experience with loss makes him view himself as a source of death, which in turn fuels these tenets of his character. ultimately, his loss and the complexes that arise from it give him good incentive to push people away.

his self-loathing

komaeda hates himself. he views himself as worthless outside of his potential to serve as a “stepping stone” for the hope of the ultimates. he claims that this is driven by his beliefs around talent, which are in turn linked to the way his worldview rests on viewing hope as “absolute good.” the talentless (himself included) are only good for advancing the hope of the talented. still, his self-loathing is a bit more personal than that. take what he says and dig just below the surface, and it’s a clean cut trauma response all the way down. which leads us directly to…

his hope-seeking

komaeda is willing to do literally anything to serve hope. on the island, this (in short) means dying. this is where I prod at komaeda’s reasoning a bit more: komaeda’s willingness to act the way he does in canon also stems from his belief that his dying would be a net good for the world. his existence kills the people around him. his illness will kill him anyway. he has less than no value, and hope is invaluable. to go out for the sake of hope would give his wretched life purpose; it’s his dream come true.

and it’s no mystery why komaeda cares so much about hope: again, it’s a coping mechanism! komaeda’s belief that all bad luck is a necessary precursor for good luck and that hope will always triumph over despair is (as he himself says!) the only reason he’s managed to stay alive. I’ll say it again because I really can’t emphasize it enough – komaeda thinks that just by existing, he kills the people he loves. ouch!

learned helplessness / his existence as a threat

komaeda has, essentially, learned to submit to his luck cycle. all bad luck is good luck in the end – isn’t that amazing?! almost paradoxically, he’s hyper-vigilant about the negative impact his luck has on those around him. this is a tricky one. I make sense of it this way: komaeda’s perception of how much his luck impacts the people close to him isn’t inflated, like, at all. the supernatural way the world bends around komaeda to screw him over really does pose a danger to himself and others, and he takes measures to minimize that danger. his stated acceptance of his luck cycle is… well, again, he’s coping. 

if komaeda really thought that all bad luck is ultimately good luck, he wouldn’t try to protect his classmates from his bad luck. but, as we see in island mode, he does!

but really, who could blame komaeda for lying to himself? I’ll restate the facts. komaeda thinks that luck is absolute power. he says that he’s powerless against it. his luck has taken his family, and it’s left him with nothing but money that he doesn’t want. he’s certain he’s a curse, and there’s no end to that in sight: so long as komaeda exists, he’ll keep on losing – murdering – everything he loves. 

in the face of all of that despair, what can you do but abandon your self-esteem and pray for something good to come out of all of it? how else could somebody possibly survive carrying that burden, truly believing that load will never be lightened?

tldr; komaeda thinks his existence is a threat, and a big chunk of his personality is a frankensteined way of surviving the pain that comes with that. still, we should question how much of his worldview komaeda has really internalized without inner conflict. 

Part 2: Enter Hajime Hinata

we get some answers on that front when we see that despite the clear and obvious danger it poses, nagito komaeda still finds himself falling hard for hajime hinata. that’s really, really loud.

I’ll preface this part by saying that you don’t need to actively ship komahina to understand what I’m trying to get at here. this said, I’ll be recapping an argument you’ve almost definitely seen before: komahina is definitely “a thing” – at the very least as a one-sided thing. to this, I’ll add the (perhaps bold?) claim that without recognizing that much as true, you’re missing out on a big part of what makes komaeda so interesting.

komaeda’s FTEs make it abundantly clear that komaeda has feelings for hinata. apart from his famed failed love confession, the fact that komaeda is willing to allow hinata to get close enough to learn about his views on hope and luck is telling. 

(the smoking gun here hinges on trusting that komaeda was telling the truth during the time you spent with him; in so many words, that he only lied about lying. so, for the sake of argument, let’s assume this is true! there’s good proof for it, anyway.)

if you read his final FTE as komaeda flashing his soul to hinata and making a decision at the very last second to retreat, turning to old coping mechanisms to protect hinata from his luck, it’s sort of a komahina bombshell. that capitulation spells out for us that komaeda understands sharing his life experiences with hinata to be one of the most intimate things he could possibly do.

he recognizes the exact moment he lets hinata get too close – when his life story is finally told – and he does what he’s learned he needs to do to get them both out of that situation safely: he tries to make hinata hate him, and tells himself (and hinata!) that he did it for the sake of hope.

(and yet, komaeda let hinata approach him every FTE, knowing damn well that they were both playing with fire… very interesting.)

now, let’s say you don’t consider the FTEs to be integral to canon. I mean, you can really easily miss out on all of komaeda’s content if you choose not to hang out with him in chapter 1! so, for the skeptic, in the unskippable main story, komaeda tells hinata this:

komaeda cares about hinata despite everything. and I really, truly mean despite everything. at this point in the story, the fact that he still cares about hinata calls into question basically every single one of his core beliefs. he’s read his final dead room prize – not only does hinata not have a talent, we can presume that komaeda also knows hinata became ultimate despair along with the rest of them. 

hinata has continually sought out komaeda’s company, even though komaeda knows himself to be worthless at best, lethal at worst. komaeda was willing to let him get closer, even though he knows how dangerous that is for hinata. he can’t help but let hinata try to know him. 

isn’t he awful? to want what he knows he can’t have, even though that wanting has never done anything but cause pain? he’s really the lowest of the low, to love someone who destroyed the world, who makes him question the views that will allow him to do the only good thing he’s ever been able to do for it: to die for hope. 

and yet, it’s a nod to how incredibly capable of love komaeda is that he’s still willing to reach out for it, no matter how many times it’s burned him in the past, and how much it hurts him in the present to want it. he understands more than anyone that his feelings can only result in disaster. reading komaeda as someone who can’t help but go on loving anyway makes his story hurt so much worse. 

but, you miss a whole lot of that without an eye for komahina. seeing hinata as the eye of komaeda’s emotional hurricane (and keeping tabs on their connection accordingly) allows us to glimpse past the cracks in komaeda’s front. we see that komaeda’s worldview is less stable than he presents it as – hinata is where komaeda’s coping mechanisms, for better or worse, run up against a wall. that tends to be uncomfortable for a guy who’s just barely coping in the first place. then again, growth is supposed to be uncomfortable, isn’t it?

Part 3: The Future He Chooses

so, all of this considered, I think one of the most interesting ways you can flesh komaeda out post-canon is by asking how he’d find himself willing to accept love. whether that love is from hinata or the ultimates, whether it’s platonic or romantic, love is the thing that komaeda wants AND fears in equal measure more than anything. it’s the source of his self-loathing and his obsession with hope. it’s the reason he’s lived the way that he has for so long – lonely, and afraid of being anything but.

getting into a relationship wouldn’t solve komaeda’s problems for him, and that’s a good thing. it would force him to confront old ones, and probably create dozens of new issues for him, too. writing him through that makes for great character study!

hinata (or anyone else, for that matter) can’t love komaeda into loving himself, but he can give him a shoulder to cry on while he works through 22 years of fear and sorts through the wreckage of a worldview that’s long since stopped serving him. I don’t think his progress would be linear. but, I think that he could do it. komaeda learning to accept care is what his healing looks like. 

(well. and physically recovering from cancer and dementia. but that’s neither here nor there!)

a post-canon komaeda learning to love narrative is also in line with the themes of DR2. hinata leads the survivors out of the neo world program because he makes the decision to choose his own future, creating a new version of “hope” for himself and his classmates. likewise, komaeda can make the decision to save himself. that is, if he trusts himself enough to actually touch and hold the thing that he’s never been able to stop reaching out for, anyway.

after all, hinata is lucky too. (and if it turns out he isn’t… y'all like angst fics, right?)

(shoutout to @cynopter for looking this over and confirming that I'm not spouting nonsense <33 thank you for reading my thesis of the week <33)

[soleminisanction]

Once again got a bee in my bonnet to spend a night doing obscure fandom research to make a point, so. For all those people who keep making the annoying, "Tim keeps '''stealing'' other peoples' names" comments -- have a table.

EDIT: Updated version with some mistakes corrected.

Everyone with a check mark has used that codename at some point in DC's 80+ year continuity -- Elseworlds and alternate dimensions/timelines count, adaptations (movies, video games, cartoons, etc.) don't unless they've got comic book tie-ins, and neither do in-universe dream sequences/illusions/fantasies/other narrative elements that are objectively "not real" within the boundaries of the fiction.

A purple marker indicates an element that only applies in Elseworlds or alternate timelines. Yellow is for the originator of the legacy title. Star symbol is for borderline cases/extenuating circumstances/it's open to interpretation (with some further elaboration below).

The "other" column is just there to account for people who've held lesser or non-legacy titles, like Renegade, Wingman, Arkham Knight, Drake, Redbird, Talon, Deadman, Black Bat, Orphan and Catwoman.

Point being: the people who have actually gone through the most legacy titles in this family are Dick, Babs and Jason, tied with 5 each (again, not counting "other;" if we counted those separately Dick would've had by far the most). Tim is tied with Steph AND Helena Wayne, so unless you're whining about them "stealing other peoples' names" you're just wrong, and they're all only one higher than Damian, Carrie and Bruce.

This is a legacy family that passes their codenames up and down the inheritance line. It's what they do. It's not a legitimate criticism to level at one character and not the others. Please get over it.

---

Further elaboration on some of the lesser known/niche cases:

- Bruce uses the Robin ID in Superman & Batman: Generations, as well as the pre-Crisis Detective Comics #226 story.

- In the second half of Thrillkiller ‘62, Babs cuts her hair and dons the Robin costume worn by her deceased partner Dick to get revenge on his killer; however the only name ever used for her in the series is Batgirl

- Cassandra was a member of the Robins orphan gang from Dark Knights of Steel.

- Duke was a member of the We Are Robins gang, as well as the aforementioned DKS orphan gang, and has appeared as Robin in a couple of Elseworlds, including I believe a White Knight spin-off.

- Cass was Batwoman in one of the versions of the Titans Tomorrow, as was Bette Kane, depending on changes to the timeline.

- Babs is Batwoman in the Batman ‘66 comics and in the 1980 story “The Secret Origin of Bruce (Superman) Wayne”

- Earth-3 Steph is Batwoman in Young Justice 2019.

- Helena Wayne is Batwoman in the possible future story Last Rites

- Tim is a member of the Batgirls vigilante/little league baseball team in the DC Bombshells universe, as is Cullen Row. Some call them the “Batboys” instead. I call those people cowards.

- Helena Bertinelli wore the costume that would later become Cass’s signature Batgirl look during No Man’s Land. However, she was more often referred to as “The Bat” and her Batgirl status is up to individual interpretation.

- Dick didn’t originate the Nightwing name, it started with Clark in the Silver Age.

- Steph has never been Nightwing. The panel where she appears in the costume is a Black Mercy illusion that happens only in her own mind. It’s a dream sequence.

- Barbara was Nightwing in the Smallville Season 11 comics.

- Terry was briefly Nightwing in volume 4 of Batman Beyond.

- Damian briefly became Nightwing after accidentally killing Dick in the Injustice series.

- Dick is Oracle in the “Eight Wonders of the World” version of Earth 2 (aka the Black Superman dimension)

[knightmareross]

He's trying ok

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[linddzz]

okok I know that Jayce is like. Runeterra Hispanic and Viktor is Runeterra Slavic so it's natural to map those culinary habits onto them. And I'm not here to take that away at all I'm here to add to it. Because CONSIDER that Viktor is the one who grew up in the underprivileged, extremely impoverished areas with lots of canals, right on the river full of fish/water bugs that, assuming they're even edible, would taste like river fish and bugs which is to say they taste like mud. It's cramped and damp and likely warm from geothermals depending on how deep those fissures go.

So all the settings for food you would want to make taste like anything other than what it actually is, and food that you would want to add antibacterial spices to. Chili peppers need light yes, but they're insanely productive with small space (source: i have been overwhelmed by peppers from one I had in a that got less than 8 hours of light) and Zaun does have the upper levels. Chili peppers are very easily preserved into long lasting sauces or powders and Cajun food okay I'm putting it out there that Zaunite cuisine could be very Cajun

Anyway what I'm getting at is that it's no reach at all to headcanon that Jayce thinks he likes spicy food until he sees Viktor casually bite into the Runeterra equivalent of a habanero like it's a snack.

[kindaorangey]

i've mentioned this before but louis and armand's relationship in paris after the trial is so hollow, and at the beginning of their story they had so much chemistry, so much respect for each other, they were having philosophical conversations and romantic walks, they had so much potential. and you can tell it's gone a bit wayward even before the trial, with how louis removes himself emotionally from their relationship, but the trial really yanks the rug out from under them and shows just how Nothing their bond has become.

and i think it's best exemplified by louis warning armand about his plans to burn the theatre and everyone in it. because i can't read that as anything other than, like, the internet joke about a school shooter warning the only person who was nice to him to stay home from school tomorrow. all that potential, all that loneliness, all that they tried at first to confide in each other and heal the heartbreak they both sustained from lestat, and by the end it's as if they're acquaintances, who only know each other just well enough for louis to refrain from killing armand alongside the rest of the coven.