#does she view herself as a main part of god's plan? as the start of the next age? as part of the rapture?

[just-another-obsessed-fangirl]

2 am and my npmd rotted brain is even more incoherent than usual but like... max explicitly saying that he views grace as "forbidden fruit", and while not said out loud, that is clearly also how grace views max... in christian doctrine, adam and eve ate the forbidden fruit and became sinful and unintentionally doomed the rest of humanity with original sin... grace having sex with max, tasting her forbidden fruit and becoming sinful and taking it upon herself to doom the rest of sinful humanity (well, dirty dudes, but she clearly doesn't have extreme qualifications for who could deserve that title)

[bestworstcase]

@tumblingxelian from here

As the person who started the "Give that girl a cult" tag, I kind of disagree. RWBY Beyond already made it clear Ruby has a lot of people focused on her in a Great Uniter sense. Add in how many issues she's been having and judging by the movie continues to have with playing the role needed of her. & that there's a nationalistic/fascist movement being aided by the villains & I feel like Ruby being admired not playing into it makes zero sense. The memes of Jax just screaming in frustration cos Ruby is much, much, much closer to the icon he only pretends to be are just memes and not realistic expectations for the volumes story. I should also clarify, cult was just picked cos "Fan club" doesn't have the same connotations.

mm to clarify where i’m coming from, my main point of disagreement with the "ruby gets a [celebrity] cult" angle is with Where and How it will have narrative impact (i think ruby’s celebrity will be more of a personal stumbling block for her tied into the summer rose mystery and an issue that exacerbates the nascent civil war, not smth she can take advantage of in the political conflict vs the crown) and how prominent it’ll be in terms of the amount of specific focus put on people adoring her.

but the main bone i have to pick is with specifically the "ruby is literally going to be deified / silver-eyed ascended savior / tea as communion wine" type stuff (like this other anon) where "cult" is being used explicitly to mean religious veneration. THIS variant makes me want to bite people 

but anyway, to your actual points: i get that the jax meme-ing is largely exaggerated joking around, but at the same time the main thrust of all the real speculation in this vein is that ruby’s celebrity functions to set up a personal conflict between herself and the asturias twins and strengthens her coalition’s hand against the crown because she’s admired, an inspiration to the people, etc. 

in the same way that "salem’s gonna show up a year late with starbucks to explain her ninety step plan for beating the gods" is an unserious joke that follows from things i do seriously believe, that salem’s ultimate goal is to get rid of the brothers and the heroic side will hear her side of the story as probably the last major narrative turning point… no one is joking about jax going "NOOOO!!" while he bleeds supporters to ruby’s accidental cult of personality because they don’t think her celebrity is going to play a meaningful part in defeating the crown, yeah?

i’m also using the memetic joke phrasing in the prev post mainly because i didn’t want to just repeat stuff i’d already said in the one right before, but—well, okay:

1 - the crown isn’t a vanity project. jax is arrogant, but he does also fundamentally believe that he’s doing what is best for his nation; it’s an ideological project. and the ideology is more or less, "vacuo was broken and exploited by foreign invaders long ago. outsiders and those who aren’t willing to fight to the death for vacuo make this nation weak; to become strong again, loyal vacuans must band together to get rid of these people and fight for ourselves and our way of life." when jax imagines the "old ways," he envisions himself as the kind of king who holds himself equal to all his people ("he wasn’t going to hold himself above them")—he’s tying himself in a mental knot here to hold this belief while also putting half his forces under mind control, obviously, but the cognitive dissonance here is buried very deep. 

2 - the MAINSTREAM, NORMATIVE city vacuan cultural view—expressed by many different vacuan characters, including sun—is "we lost our identity and our way of life because people were too soft and content; we let the other kingdoms come here and take what they wanted, and then they left us with nothing but sand, heat, and bitter memories. but hardship and fending for ourselves for so long has made us strong, so we don’t need anyone telling us what to do!" <- i am condensing but much of this is lifted verbatim from the speech sun makes to rally eleventh hour support against the crown. in that speech, he rhetorically equates the twins to the "other kingdoms" who, like the crown, "promised prosperity and paradise."

3 - now. i don’t believe rwby is going to play straight this idea that vacuans were to blame for the conquest of vacuo, because a) the nomadic vacuans in after the fall hold very different cultural attitudes, b) in the 9.11 animatic oscar explicitly refers to all this as a "history of colonization," and c) rwby doesn’t blame faunus for being persecuted or the people of mantle for being repressed, why would vacuo be different?—these are cultural views that i expect to be challenged in v10.

4 - notice how similar these normative/mainstream views are to the crown’s ideology! the crown is more extreme, more violent, but it’s really not that far off from stuff the good-guy vacuans say. before the 9.11 animatic, this was the whole basis for my thinking that the crown would be the arc antagonists in v10—at the end of the book, the defenders turn the tide by flipping the nationalist rhetoric around; ideological victory to the crown. dump tens of thousands of refugees from another kingdom into this situation, and what happens? popular support for the crown explodes. 

5 - BTE is a villain origin story. it’s just the prelude that sets the stage for this explosion of popular support; the main event is in v10, and i think this time the crown is going to be much stronger. in the book, it’s a fringe movement extremists and a roughly equal number of unwilling "recruits" under jax’s thrall, but almost every city vacuan character we meet expresses hostility toward "outsiders" and "traitors" and a lot—not all, but a lot—of what the crown believes is normalized to some extent; a really significant number of vacuans were just one refugee crisis away from breaking for the crown. vacuo has had two refugee crises in swift succession and there’s atlesian and mistrali warships allied with the faction that welcomed the refugees flying over vacuo now.

6 - it doesn’t matter that those foreign ships are there to defend vacuo too; vacuan nationalism is grounded in centuries of colonial occupation and the optics are really, really bad for the coalition. here is what jax is going to be screaming from the rooftops: "half or more of vacuo’s population is outsiders now, people from atlas and vale who never lifted a finger to help us but expect us to sacrifice everything to save them—give up our food and water when we scarcely have enough to sustain ourselves, give up our homes, spill our blood and defend them with their lives. they’re weak, pathetic cowards who came running to hide behind us instead of fighting for their kingdom, and they expect us to believe they’ll fight for us when the time comes? no, they’re just here to do what the other kingdoms have always done to us—they’re the real threat. are we really going to sit by and let these foreign invaders take our country from us again?"—and a lot of vacuans are gonna buy that bullshit.

7 - not least because a lot of it is… kind of true. vacuo has a very long, very real history of suffering at the hands of these other kingdoms whose people it is now being asked to make very real sacrifices for. both CFVY novels emphasize that food and water are already scarce before the kingdom doubles in size and vacuo is weathering onslaught after onslaught of grimm because of the refugees. it’s a really tough situation, and for someone like jax it is a massive political windfall because it’s so easy to twist that reality into a justification for hatred and violence.

SO,

here’s what really stands out to me about the 9.11 animatic and ruby’s celebrity in B4:

nora’s section: establishes that the vacuans are really angry, like "throwing junk at small orphaned children in a screaming rage" angry

oscar’s: the shade coalition is holding on by its fingernails against grimm drawn to the city in droves.

ren’s: the asturias twins get broken out of prison, and he reflects that salem has the advantage because it’s easier to exploit fear and anger than to overcome them. 

winter’s: popular support for the crown is booming ("atlas go home" and "long live the crown" grafitti)… and then the second refugee crisis arrives, provoking what is quite likely another days-long unrelenting assault of the city by grimm. also, when the shade coalition isn’t running itself into the ground fighting grimm, they’re distributing food and water to refugees. (=the crown’s talking point here is "see? they only care about helping THEM, not US")

qrow’s: he feels optimistic because he sees the refugees coming together, trying to support each other through this crisis and atone for past wrongs. the old divide between atlas and mantle is healing. every single character in this section is a refugee, and the "remember her message!" mural seems to be something the happy huntresses organized. 

"it was a relief for us," says nora of reaching vacuo, "but for the vacuans…"

and boba: yang takes ruby to specifically a boba shop that relocated from patch to vacuo after vale was evacuated; so this is likely a neighborhood where a lot of valean refugees settled and that means the vacuans who live here are going to mostly be the type of people who were willing to open their community and absorb that second wave of refugees, i.e. the shade coalition’s support base, people like the nomadic vacuans in ATF who would never be swayed by jax’s rhetoric at all because they weren’t already xenophobic… which BTE implies pretty strongly is a minority position within vacuo proper.

B4 is a character-driven piece focused on ruby’s personal struggle, and the beyond spots are all pretty light, pretty hopeful, and pretty opaque about the situation in vacuo for reasons of being optional side content.

the 9.11 animatic, on the other hand, was meant to be an episode of the show proper, so it does not hold back on the foreshadowing / setup at all: from nora to ren to winter there’s a pattern of escalation with vacuan support for the crown gaining ground, getting louder and bolder, and then qrow’s optimistic conclusion is focused very tightly on the refugees, with an acknowledgment that things are "bad, probably never been worse" beyond the small good he chooses to focus on… which conspicuously does not include any vacuans participating in these small acts of kindness or atonement: it’s klein and willow and the happy huntresses looking out for other refugees.

here’s what i think is going to happen with ruby’s celebrity in v10: the refugees from atlas and mantle will adore her—she’s the girl who rallied the whole world to come help them, and got them out alive when salem attacked and their general lost his mind. the refugees from vale will love her—she’s theirs, after all, born and raised in vale, and look at what she’s started. the minority of vacuans who threw open their doors to welcome the refugees will think the world of her—if atlas hadn’t fallen so quickly, these are the people who would have done whatever they could to send help, and her example is an inspiration. 

and the rest of vacuo is going to fucking hate her. she’s the girl who asked the whole world to come running to help atlas and then the very next day dumped atlas and its problems into vacuo’s lap. is it fair to pin the blame for everything on ruby? fuck no, but she’s the face of this crisis for better and worse.

she’s not a threat to jax; he literally could not ASK for a more perfect scapegoat. she’s the girl from beacon who abandoned her school instead of fighting to save it. (<- explicitly how the crown and basically the entire shade student body views the beacon survivors.) she’s the girl who begged the world to come help atlas and then not even a full day later ran away AGAIN, dumping atlas on vacuo. she’s the reason the sky is crawling with atlesian and mistrali warships. she’s the reason grimm attacked the city every few days for months on end. the satellite she used to send her message is a fuckoff huge battleship looming over vacuo now. she keeps asking vacuans to set aside their differences and work together with the tens of thousands of refugees burdening the kingdom, and all of those refugees think she’s the best thing since sliced bread…

i think ruby will be a polarizing figure—possibly divisive enough that her return might be the final straw that rips the kingdom in half. ’cause like. the people with the most reason to admire her are also the ones the villainous nationalist group despises and wants to get rid of, and the 9.11 animatic flags hard that the crown’s support among vacuans has skyrocketed since the refugee crisis began. they’re not a fringe group anymore.

so on the one hand, the pressure put on ruby is going to be orders of magnitude more intense than ever before because she’s a celebrity beloved by the coalition’s supporters, most of whom are refugees, and between that and finding out vale is just gone now right after getting back, to judge by her characterization in rwby x jl2, ruby is NOT going to be coping well in the wake of her resolution to be all summer was and more. 

and on the other hand, to the crown’s supporters, who could very well now be the majority of vacuans living in the city proper, she’s the perfect scapegoat and they’re going to utterly despise her, inflaming the existing divide and maybe splitting what fence-sitters still remain at this point one way or another. ruby is both the girl who united the world and the girl who tore vacuo apart—rwby does love its contradictions!—which is a) not going to help her mental health situation at all, and b) a problem she and the rest of the shade coalition can only solve by winning the ideological argument. 

to put vacuo back together again they need to beat the idea that "outsiders" make vacuo weak and therefore to be strong vacuo has to drive out everyone deemed un-vacuan. more to the point, they’ll need to overcome the feeling that vacuo is suffering because the rest of the world came together for the refugees. which… is difficult and unfair, because the crown are the ones refusing to play ball and making everything harder than it needs to be, and because if the crown goes into open revolt then the coalition is going to have to fight back and that will make it even harder to make a convincing case that the coalition really does want to be fighting for vacuo, for all vacuans, not against them. it SEEMS impossible. but saving everyone in atlas and mantle seemed impossible, too. 

also, waves vaguely, i expect the vacuo arc will mirror atlas in various ways and this is one of them: the ascendant political movement are bad guys this time, reactionary nationalists, and the heroes are going to defeat them the hard way, no cheating, which will incite the healing of vacuo.

[immaturityofthomasastruc]

Something I dislike about Chloe’s damnation is how her good actions never have that “selfish” part of them

My main examples is Zombisue and Queen wasp

She sacrificed herself to save ladybug and apologizes at the end, saving ladybug is selfless since she genuinely trusts ladybug will save them all (LIKE CHAT NOIR DOES, she’s doing the same chat does and is meant to and she doesn’t gain anything from apologizing since she already looks good in ladybug’s eyes for saving her

And in queen wasp she knows she’ll won’t be getting the miraculous back but she gives it up because of her devotion to ladybug

If the writers wanted to make her seem evil and selfish they would have given her something to gain out of this situations like money or fame, not the sympathy of her idol, is like the writers don’t know how to make actions have a selfish intentions to them and it shows with Marinette

Marinette has done this multiple times (for example she goes to Shanghai under the excuse of following Adrien which is extremely selfish) and the writers never seem to notice

I once read a fanfic called “bad for business” about a side villain of a show (which show ain’t important) not joining the main villains which invade he’s territory and basically plan to destroy the whole place.

The villain constantly makes deals and promises with selfish goals knowing full well most of he’s Allie’s might end up weakened, in Jail or dead at the end, and everything he does is selfish even if they aren’t flat out evil (I will help them in this turf war so they will help ME in this turf war, I will give them valuable information so they will destroy our mutual enemies for ME, I will kill this terrorist so I can frame it for the murder of another goon I murdered)

And the fan fic makes this clear every single scene, he does have good traits like caring for he’s partner and trying (emphasis on trying) to console a girl (which would have been he’s enemy in the canon show) after the two think a friend of hers died in front of their eyes but even till the end it’s shown how he’s never done a single selfless thing in the whole history and that’s why despite everything he did on the fic and what he wanted to achieve and by the means he did, he still rooted for him, because he was evil and nothing was hiding it (specially not the writer)

Meanwhile miraculous doesn’t know the difference between a selfish and selfless action, a fanfic does something better than miraculous, a fanfic of a series far worse than miraculous is more aware of good and evil than a children’s show

God I love ranting about miraculous mistakes and double standards

I feel like the writers have no idea what an anti-hero is, because characters are either completely perfect and can do no wrong, or they're complete monsters who are pure evil.

The show tries to write characters like Chloe, Gabriel, and Felix in a morally gray light, yet the writers always try to either downplay their actions or act like they've been good from the start.

The whole point of writing an anti-hero is that it allows you to explore stories in a way that differ from the usual moral paragons people are used to seeing in superhero media. These kind of characters usually find ways to accomplish their goals that don't allign with the beliefs we have. It makes us think about whether the ends justify the means, or how thin is the line between being a hero and being a villain.

But this show doesn't do that sort of thing. When a character does something, it's either good or bad, no matter the consequences it has. I'm not saying we need complex writing on the same level as Breaking Bad for this show, but if they're going to try and discuss topics like redemption for past deeds, you need to draw a line and show what kind of things are okay to do, what things aren't okay to do, and why actions are viewed in a certain way.

[jerzwriter]

That's what I was going to say! Your Casey gives very "traditional" vibes, maybe because of the wedding and last name but also idk because of the religion and going to church thing lol the 3 kids and wealthy lifestyle. Very old school 🥰

Hey Nonny,

You know, Casey and Tobias are contradictions in many ways, and that's by design. We tend to put people into boxes and think they live within those walls. But people are complex and unique, and they're not always what we expect them to be.

Casey wouldn't consider herself traditional. She would never describe herself that way. She grew up struggling in a diverse neighborhood in Philly. She saw how inequitable the world was firsthand... even within her own (extended) family. She moved to a wealthy suburb... and hated it. Tobias being wealthy was not a plus to her... not at all (there is a fic about that forthcoming.)

Her goal in life was to make the world around her more fair and just. Healthcare for all is her main mission. She knows it's an uphill battle, but she's going to do all she can to get there. She's an ardent feminist and fights for women, the lbgtq+ community of which she is a part, and for racial equity and social justice.

She always wanted a family but did not plan on having one so soon, and it honestly terrified her. One of the reasons she didn't completely freak out was because Tobias was so relaxed about it, so "We've got this, and we get to do this our way... no rules." Their family is everything to them... nothing matters more. But "traditional" families (as they're viewed in the U.S.) probably wouldn't approve of a lot of things they do and how they live (and neither one of them loses any sleep over that! lol)

Taking Tobias's name when they married was partially because she was expecting Samantha. She liked the idea of sharing a family name - but she didn't think it was necessary. It's also a testament to how much she loves and trusts Tobias because it's not something she would have been comfortable doing at other points in her life. But she's so confident in their relationship. She believes in them so much that she wants to do it, even though he makes it very clear that he doesn't expect her to.

When it comes to religion, Tobias was the one who was one who found that important when they met. Casey considered herself agnostic. Surviving the chemical attack and giving birth to Sammy changed that for Casey, though she admits that no one knows for sure, even after. With Tobias, he absolutely did not live a pious life, but the foundation growing up in his Church still was important in his life.

This was also by design. The black church in America is very different from other churches. It's often a cornerstone of the community. It provides a safe place and a sense of identity in a hostile nation. It played a huge role in the civil rights movement and continues to play a role in the fight for equity today. I HC that his mother's grandfather was a prominent pastor in their community, and while her father did not follow in his footsteps, their church remained an important part of their life, and they were actively involved.

By the time Tobias is in med school, he's only attending Church on holidays or when he visits family in DC, but the lessons he learned there are ingrained in him. He does turn to God during difficult times - but he never put the expectation on Casey that she should. But when she starts coming around to that on her own, he does support her.

They don't make church every Sunday after the girls come along, but they go frequently. I think they go more once they move to DC, and they can attend his family church. They're very open-minded, they are NOT Bible thumpers at all, and they really don't care for people who are. I see them as more spiritual than religious, but this plays a role in their life, and in turn, their children's.

Casey & Tobias are showing that families are different. They are a loving, devoted family, and faith is a part of their life, but they're open-minded, they have a liberal approach to raising their girls, and they don't fit a mold - because you don't have to.

MUCH more than you probably expected in an answer, lol, but again, don't get me talking about my babies - especially what makes them who they are. Thanks so much for your ask.

[ravenwolf1132]

O o o o h

I have thoughts

Multiple options, take your pick:

Jolyne infiltrates the Speedwagon Foundation and starts changing it from the inside, climbing the ranks until she take over the whole place and makes things better for the scps inside.

The foundation used to be a good place where supernatural creatures and entities were protected and taken care of. This was Speedwagon's original view for the foundation, a place that Jonathan Joestar would be proud of. But somewhere down the line, the foundation fell into "new management" and became corrupt. And who else better to fix it than the Joestars, where it all began.

Jotaro is indeed used to this treatment and it completely despondent through the whole thing. But in his mind, he's just going through his plans. He's actually been slowly turning the tides behind the scenes at the foundation and is about to start essentially a revolt. Declare better working and living conditions for workers and Scps alike, and take down the corrupt management.

Getting the rest of the Joestar family and all their allies involved, after Jolyne makes that call to Holly, they get everyone connected to the Joestar Family (even passione - hey look! Polnareff is there, and he ain't happy his buddy is locked away again) and storm the Speedwagon Foundation HQ and demand they release Jotaro.

Speaking of, there's one more thing. You mentioned that Jotaro's power is based off fundamental want and desire. He wants to hide and not be seen as a threat, so he changes into a small child. He wants to grow up like a normal child, his body changes gradually over time. He wants to protect those closest to him so he becomes big and strong. He wants to be Holly's son? His body responds in kind and is biologically Holly's kid, he has the birthmark. And the foundation hates it. Because their supposed to cater to the Joestars, protect them, cherish them. And in their eyes, Jotaro is just another monster. Over the years, the birthmark slowly fades as the foundation tries to convince him he's not a real Joestar.

But let's go back to the All Of The Joestar Main And Extended Family Storms SpwHQ, on Jotaro's side of things, he finally decides to do something he hasn't in a long time since Holly took him in. He breaks out to go find her, and because of his powers it's easy for him to do so without detection. But his Holly GPS doesn't point him to Japan, it sends him up to the CEO's office. When he gets there, he hears Holly. Holly doesn't raise her voice, not often, not on occasion, she never raises her voice. And yet she is screaming bloody murder into his CEO's cowering face, and the thing he hears is;

"I DON'T CARE IF I DIDN'T GIVE BIRTH TO HIM, JOTARO IS MY SON AND THAT. IS . FINAL. IF YOU DONT LET HIM COME HOME THIS INSTANT, SO HELP ME GOD, WHAT I WILL DO TO YOU IS WORSE THAN WHATEVER HIS CLEVER LITTLE BRAIN CAN COME UP WITH."

His birthmark flares to life, becoming more vibrant than its ever been at that conformation that he is a part of the Joestar Family regardless of his origins. Holly finally notices Jotaro in the doorway and rushes over to him, checking him over and fretting like a mother hen and he accepts it. Feeling like that helpless child again, but much more secure and loved.

Jolyne is just happy to have her dad back but she does still infiltrate the foundation to change it from the inside while the Joestars essentially blackmail and gaslight the foundation from the outside. Forced into a corner, by the time Jolyne and her father have turned the whole foundation to their side, protesting and changing, revolutionalizing the whole scp department. The current management council steps down and hands over control to to Joestar Family. Jolyne herself is put in charge, and they restore the foundation back to what it was, what it should have been.

A sanctuary for all things supernatural.

I like happy endings ok??

(Though there is plenty of angst still, go ham)

So I just had

SUCH an angsty idea for the SCP Jotaro AU regarding Jolyne

What if Jotaro not being around wasn’t his choice. What if the SWF did some tests on Jolyne when she was born and while she seemed mostly human, they limited his contact with her because they didn’t want to risk her also becoming another SCP or for him to influence her

What if Jotaro had to fight tooth and nail to get the Foundation let him go save his daughter instead of some other agent. Heck, what if they didn’t agree and he hijacked the mission not giving a damn about the consequences

and what if….. what if when everything’s over and Pucci is killed and things become normal again because of Jotaro’s extra abilities…… Jolyne is forced to witness these consequences

she has to see her father treated as less than human, as some kind of dangerous monster who could lash out at any moment, as something incapable of thought or emotion like some kind of animal, not even being given the basic respect of calling him by his name and instead calling him by his SCP number

And she has to see her father just accept it. And its…… almost frightening, if she’s being honest. Confusing too. Barely hours prior she’d seen him spit insults and glares and beat a man nearly to death in a protective rage. He’s seemed to strong, so untouchable, nothing like the limp body she’d dragged to the submarine all those months ago and now……

Now he’s reminding her eerily of back then

He doesn’t fight as they put him in special cuffs, doesn’t so much as glare as they mistreat and insult him, if anything he goes through the motions with a practiced ease and that’s when it hits her that it’s because this is practiced he’s done this before he’s been treated like this before, treated like this enough times that he thinks it’s normal-

Maybe Jolyne tries to help him. Maybe Jotaro stops her. Maybe he explains that this is just protocol, that he’ll be put in an isolated cell on watch for a few weeks and if he’s good they’ll let him out again

She hates how much he knows about this

All I can say for certain is that in the next few days before that Jolyne is going to have a very emotional call with her grandma Holly

[mellointheory]

The Eggpire, and why they are the coolest villain group in the SMP

The Eggpire is personally one of my favorite groups of people on the entire smp. The Eggpire I’m currently referring to consists of Ponk, Bad, Antfrost, Punz, and Skeppy. They’re the ones who are clearly working for the Crimson, and are generally percieved by others in the SMP as corrupted. 

Part of why I love them so much is their clear alignment. They are perhaps the most obvious ‘villains’ in the current season. There’s no moral greyness with them, only the tragedy of the consumed as they serve their master. They’re predictable, and you can tell others view them as a threat. Don’t break the vines, don’t disrespect the egg, avoid them at all cost.

The Eggpire is also currently winning in the “group” part of “group dynamic”. There are other alliances on the SMP, but it has been a while since one solid group of people were working together to defend or protect something. Even in the Doomsday War the defenders of L’Manburg were conflicted--Niki burned the tree herself, Eret was working with people who he had betrayed once before, Punz was an active spy. The Eggpire has a solid foundation of people working together, and their internal workings are interesting. Every member has their own specific role.

Badboyhalo, the Corrupter

Bad, despite what he says about there being no hierarchy within the Eggpire, calls all the shots. He is the largest threat and the start of the Crimson’s spread. He found the Egg, brought others to it, protected it when the vines first began to surface. He takes the most active role in the corruption of others and trying to further the Eggpire’s goals. He’s one of the main three fighters in the Eggpire, and the other two tend to follow his lead and let him speak.

Bad being a demonic creature himself adds an extra layer of awesome to his character. While he was uncorrupted his soul jar (Skeppy) was taken by the Egg, and the...bathwater stream happened. That was a hot mess, HOWEVER, afterwards it actually became kind of cool. Bad saying that “no matter what he could do, he couldn’t fix Skeppy”, implies that his character is in fact capable of magic and was trying, over and over, to return his best friend to who he was originally and kept messing up. Only after his actions failed did he willingly corrupt himself and become the main villain of the Egg arc.

Antfrost, the Caretaker

Antfrost...I absolutely adore corrupted!Antfrost. He was the first person, after Bad, to become attached to the Egg. He was ruthless before he was turned--he even suggested killing Skeppy in order to remove the corruption from him. Now he’s actively serving an eldrich abomination. He follows Bad around silently and writes messages to people in languages they can’t understand. He’s a “professional hunter” (that scene gave me chills) and Bad’s righthand man.

Before the Crimson Antfrost ran an animal sanctuary. He’s still keeping an eye on the animals, but now most of his attention seems to have transferred to the Egg. He seems to have the most active affection for the egg, making sure to feed it and even kissing it once. The aesthetic of a chaotic evil catboy in a nice suit who has no moral compass but does have an undeniable fondness for the Bloodvines growing everywhere is just... *chefs kiss*

Punz, the Guard

Punz, as a character is very well done. He’s been one of the most chill on the server for a while, only actively involving himself in conflicts when A) one of his pets has died, or B) Dream told him to. He’s loyal; once he has a directive he will accomplish it. Dream himself knew if he hired Punz to guard L’Manburg, Punz would guard L’Manburg and kill anyone who left the walls for as long as Dream wanted him to.

Now Punz is guarding the Egg itself. He isn’t as actively threatening as Bad and Ant--he was able to have a completely normal conversation with Tommy, for example, while Tommy is actively terrified of Bad and Ant. Punz is only a danger when he’s called to be, otherwise he’s just a chill guy who doesn’t seem concerned that he has red eyes, or that the thing he’s working for is actively spreading across the entire server.

Ponk, the Voice

Ponk spent a lot of time around the Egg. He even planted a seed in his own casino, named it, and yet managed to turn it into something else. He was left on top of it for days, and came out completely unscathed. He originally began working with the Eggpire purely for pain au’ chocolate and bought contacts from Amazon in order to blend in with them. He doesn’t give a shit.

Correction: he didn’t give a shit until his boyfriend cheated on him. Ponk got corrupted purely out of spite and facilitated the beginning of a war between the Egg and the server’s local builder god. He’s a semi-psychic amputee and the caretaker of a graveyard. He has the most unique interaction with the Egg.

Skeppy, the Heart

Skeppy is Badboyhalo’s living soul jar and probably the most wholly corrupted in the entire server. He spent an entire day inside the Egg and came out with no desires except for it. We’ve seen him the least out of every Eggpire member, but he’s had the most effect on the plot. He’s the Crimson’s leverage over Badboyhalo. If being logged out means a character is canonically asleep, then Skeppy has been sleeping for months. Practically in a coma, until the Egg needs him.

cc!Skeppy says that they have more planned for his character, so I’m very much looking forward to seeing what will happen when the Egg decides it needs him. He was probably the weakest Eggpire member, but who knows what he’s capable of now?

The Crimson Itself:

The Crimson is a problem you can’t get rid of. The bloodvines spread without anyone being near them; they grow back as soon as they’ve been cut. Just hurting the Egg can kill you, although they retconned Sam’s death due to Crimson damage. To quote Badboyhalo: “If you break the Egg, it bites you back.”

The absolute coolest thing about the entire Egg arc, in my opinion, is how hard it is to keep an eye on the big picture. We as viewers get wrapped up in what’s happening right now. Hannah was trapped in the Egg, now she’s escaped. There were vines in Sam’s base, now they were broken. The Eggpire attacked Foolish’s base, then he scared them away. Then you pull back and remember, it is just a an egg. We have no idea what its plans are, or what it’s capable of. Someday comes the Red Banquet, and that’s when the real storm breaks.

[phantomdecibel]

OKAY

@teamfortresstwo​ come get ur lore pspspspspsps @ghosty-crow​ you’ll probably be interested in this too so hAh get tagged too-

Over 2100 words of lore for my ocs here, it’s. it’s kinda long haha XD

Edit: that’s a lotta words so I’m sticking in a continue reading thing lol

All of this is still subject to change – I don’t have any of these specific story elements nailed down just yet, same with some of the worldbuilding shit mentioned (specifically the relationship between mortal and immortal), so be warned, it’s all a bit messy. I know most of the details, but I don’t normally put them down into words like this, so hopefully it’s cohesive enough? Either way, here we go!

First lore scribble – the sticky note with the red pen! The character there is named Alouette, kinda surprised I haven’t mentioned her before? I’ve got some fun things planned w her >:3

What’s important about her is that she’s got an Incredibly Powerful patron! When Alouette was pretty young, current idea is about 12/13, she… stumbled across one of the oldest gods in the universe; the primordial embodiment of Time (mostly through a combination of youthful curiosity and teenage rebellion). I know most of the characters I’ve talked abt are divine in nature – but gods aren’t actually commonly come by, so this was kind of a once-in-a-lifetime kinda thing, even if you’re twelve (though they’re less rare than they are in the future, where the main plot takes place). So, this curious, bubbly preteen starts talking with the Thing she’s found out in the woods, and Time is… endeared, in a way. It has recently been… guiding some others, both mortal and not, and is feeling slightly soft, so sue it, and offers Alouette the chance to work for it, as it’s prophet, since that previous guiding-people was a lot of work for something barely even corporeal (child labor laws who?). Alouette, not really understanding the weight of this + Time doesn’t exactly explain well, agrees. But when she goes home, it’s obvious she’s been touched by Something Else, and these are not modern times. The people of her small town are afraid, and, fearing she’s been killed and the child before them is actually just something wearing her skin (which does actually happen on occasion), sentence her to death. But being Time’s prophet, even if she’s new at it, does come with some advantages, and she manages to escape with her life – though still heavily injured. Time takes her to meet Salix, who helps her recover before parting ways again, and Alouette spends a lot of time with Time, learning about just what, exactly, she’s signed herself up for.

With Time as her patron, Alouette doesn’t age, and can slip into the ‘stream’ of time and all the possible futures – though this incredibly dangerous and easy to get lost in and is a skill that has to be trained – among other things (like the occasional vision of the most likely future). A N D she gets a ‘crystal ball’, which she used to much more safely view the most likely futures.

Which is one of the doodles! The crystal ball she wears as a sort of necklace is actually one of Time’s many eyes, which it plucked out of the closest thing it has for a head and gave to her! (the paws in red in floating around her are like,, her connection to her patron and are invisible to most others. They’re the hands that weave the tapestry of Time, and sift through the veils of the branching futures, she can control them to a certain extent, like extra (non-corporeal) limbs).

Sometimes she has trouble knowing whether she’s living in the present or in one of the many, many futures she can see, and is a pretty anxious lil bean, always trying her best to guide people towards their best futures. The… slight problem with that, though, is that she can’t see death in the futures, so she’s often afraid to act on what she sees, in case it’s leading a person to a demise she doesn’t know about. She’s often overlooked and underestimated because even a million years later, she still looks like a twelve year old. With that in mind, she’s a pretty important character in the main storyline!

Most of the other doodles are non-specific scribbles of Willow and Sam (doin a lil bit of character design for Willow still), and one of Kip (kid Constellation ends up adopting) and Arceli (the cheetah-esque cat w the spots)

so I’ve mentioned a couple of my god characters before aka Salix (Integra) and Constellation, and I’ve mentioned Arceli before, and I’ve mentioned (albeit incredibly less so) Willow and Sam before, and I’ve talked a liiiiiittle bit about their relationship w eachother (emphasis on little), and I’ve mentioned Constellation’s imprisonment, etc. etc., but what I haven’t mentioned bc its Story Spoilers territory, is that Salix and Constellation are Willow and Sam!

Whaaaaaaat??

Yup! Basically; Salix is kidnapped and forced to work for the power-hungry Phoenix King, because her thing is that she can. Hmm not quiiiite sure how to explain properly so stay with me for a moment. Salix can sculpt like hollow shells, people made of mud and bark and stone, that move and talk and even think, under the right circumstances. But they’re puppets. They’re, as I said, hollow shells of people that cant feel pain and can be controlled by a single person, like a marionette on a string – the perfect soldiers. It’s not long before the resistance against the king, led by Delta and Ibis, take notice and come to the conclusion that she needs to be removed from the equation (by whatever means necessary-). Enter: Constellation, a godling who was raised by one of the king’s allies and up until recently, worked as an assassin/bodyguard/whatever the Empress needed from her. I say up until recently – because Constellation, though incredibly isolated asides from the empress (who’s name is Ash btw), did have a couple friends. And both of them defected to the resistance.

Delta was first, and she went with a bang that shook the foundation of Constellation’s faith. But what brought everything tumbling down was when Ash killed (well, nearly killed, but stella doesn’t know that just yet), a mortal resistance member by the name of Foxglove – who also happens to be stella’s other friend. So Constellation runs, and ends up meeting Arceli (who’s still mortal at this point), and the two of them travel together for a while, and then they find Delta again – or rather, Delta finds them. Constellation and Arceli join the plan to do something about the whole Salix situation and end up freeing her, and the three of them become friends yada yada. None of them are very happy with the state of the world right now, and some Things happen that lead to them (mostly stella and salix, celi isn’t as much of a fighter) helping Delta and Ibis hunt down and kill certain gods.

Now, it’s a secret held pretty close to the chests of those within the divine community that gods can die. For as much as they love to posture themselves as all-powerful and immortal, they’re just full of hubris and much closer to the mortals they tend to scorn than they want to believe. And the secret of how is kept even quieter.

The trio – Arceli helps with this part – start coming up with ways for the more mortal of the population to defend themselves against gods, to get rid of them. Even the playing field, so to speak.

This, obviously, is not a welcome change by the people who now can’t just go around doing whatever they want. Constellation chooses to take the blame for this, and is ‘banished’ (trapped via ritual) to the Void, the End Of All Things, the Graveyard of Gods. Arceli and Salix are on a race against time to free her – though with their lifespan than race can span a couple thousand years haha. Stay with me – we’re getting there.

Okay so remember those ‘puppets’ Salix can make? She hides her real body and lives in those instead, so that she doesn’t have to worry as much about being forced into the same situation that Arceli and Stella rescued her from. Arceli and Salix, upon studying the ritual used to trap Constellation,  quickly realize that the only way to free their friend is to ‘deactivate’ each part of the spell. Now, each part is being fueled by a different god, so they’ll either have to convince those gods to stop fueling the spell, or… remove them (more murder, yay!) from the situation. They manage to strike off a good chunk of their targets before Salix’s puppet is destroyed, and Arceli is left on her own. The main storyline starts somewhere in here, and some more characters become relevant, but I’m not gonna get into that rn XD

Arceli ends up settling down where she’s pretty sure her next target is – and so does Salix’s next puppet, who’s going by the name *drumroll please-* Willow!

In between making a new puppet and tracking down her friend and their target, Salix manages to get into contact with Constellation, who’s got some news about Ash bc somehow she’s still alive and kicking, and biding her time for Evil Plots, and Salix and Stella come up with a Plan, a Plan that involves Salix posing as a civilian in the same town (city?) Arceli is searching for their target in.

Now, because these bastards are feral and extra, they decide to drop Salix’s newest puppet off on the steps of some poor unsuspecting family’s house as a child and ‘growing up’ as a definitely totally completely 100% mortal-aligned person, instead of having her garner allies as an adult. They want to get Arceli involved in this scam – but unfortunately they have no clue where she is (where she is is Pissed Off bc she wants her friends back, thank you very much!)

And now we’re at the second lore doodle – the last image in the collection/the cat with the scarred leg!

Salix – or rather, Willow – realizes pretty quickly that both Arceli and one of the people responsible for trying to kill Constellation are running around nearby, and starts trying to track them both down. She finds Arceli during a confrontation with The Target, and steps in to help.

But this form is fragile and, even if it can’t feel pain, easily breakable, so Salix has to be careful. Even still, she gets knocked around a bit, and almost fall to her ‘death’. Arceli saves her though, grabs her arm and pulls her to safety, at the expense of their target getting away.

Backtracking a bit – when Arceli first started travelling with Constellation and Salix, she was mortal. But because of leaving the Deadzone (which I don’t really know how to explain it’s deal in the universe other than Slightly Radioactive), gets very, very sick and nearly dies. Ibis, who’s domain is over Rebirth (he’s got this whole phoenix-and-fire thing going on, and has a personal grudge against the so-called Phoenix King and Ash for giving people w phoenix and fire schticks going on a bad name /j) steps in to save her life, resulting in Arceli getting to have fire powers too, which is a large part of her fighting style, when she does fight (and she’s Pissed Off rn. Just because she doesn’t like to fight doesn’t mean she cant be a powerful opponent). So – she’s using her Fancy Shmancy Fire Powers in the previously mentioned fight.

When Arceli grabs ‘Willow’, she’s still Slightly on Fire, so Willow gets burnt. It’s not a bad burn, necessarily, especially since Willow is essentially just a puppet – and its not like Arceli wanted to hurt Willow so she… extinguished? herself? pretty quickly – but it still scars. And, for Magic Reasons I haven’t fully figured out yet (maybe bc the fire isn’t Normal fire or smthn?), this actually hurts Salix (and will carry over to all her forms!). She ends up passing out from the pain, since its been a reeeaally long time since she’s, well, been able to feel pain lmao, and then for reasons I, again, haven’t quite figured out yet, Salix and Stella decide they can’t tell Celi anything just yet. So, Arceli and Willow end up meeting again – much calmer thing time haha – and Salix doesn’t tell her anything just yet. Arceli wants to apologize for the arm, which is fine, Salix isn’t holding a grudge, and ask why Willow got involved in the fight at all. So Willow tells her instead that Constellation is her patron, and she wants to help free her, and the two strike up an allyship while Stella and Salix try to figure out how they’re supposed to break the news to their friend

With a bit of recovery, physical therapy, and magic, Salix’s limb there is functional again after not too long, though she still often has to use a brace when it acts up. Eventually, over the course of a couple thousand years it’ll clear up and she’ll just have the scars to show for the incident, but she’s not too beat up over it either way :)

Yeah! So those’re the lore doodles!

I feel like I should mention that Constellation is in them too as ‘Sam’; Willow grants her a puppet to possess or whatever so she can kinda sorta leave the Void in a way, so she’s around too during all this lol

The uncontrollable urge to just turn my characters back into cats strikes again

[aboveallarescuer]

#that happens even when the person isnt trying to argue that shes a mad queen/villain but that she has both 'good' and 'evil' in her#and is meant to fail#(e.g. that meta about how dany is a tragic shakespearean hero; which annoys me more bc it sounds convincing when you don't remember what#happened in the books very well...

Can you talk more about your problems with that essay? I thought that it sounded plausible... I don't want those things to happen to Daenerys, but I don't trust GRRM either.

Anon, thank you for this ask and sorry for the delayed answer. I was already planning to write several posts as a response to the arguments of “Daughter of Death: A Song of Ice and Fire’s Shakespearean Tragic Hero” (which you can read here), but I couldn't find the time or motivation for that lately, so thanks for giving me the opportunity to counter-argue it in a single answer. I tried to be brief by summarizing some of my notes and by linking to a lot of metas instead of repeating all of their points, but the response unfortunately ended up becoming long anyway.

In the context of that essay, Dany is considered a Shakespearean tragic hero because the writer thinks she fits five requirements: 1) Dany’s chapters contain supposedly deliberate references to Shakespearean plays; 2) Dany is “torn by an internal struggle”, namely peace versus violence or companionship versus rulership or home versus the Iron Throne, all of which also drive the external conflicts. Choosing the second options will lead to her demise; 3) prophecies and “influential accidents” - that is, events that “have roots in a character’s motivation”, as well as “the sense of ‘if only this had not happened’” - will “heighten and exaggerate [tragic flaws that] already [exist]” in Dany; 4) Dany will (according to the essayist’s speculations) take actions that produce “exceptional calamity” and her demise will be “her own choice and doing”; 5) Dany “[rose] high in position” and is “an exceptional being”, which sets her apart as a character that fits the mold of the Shakespearean tragedy because her reversal of fortune will highlight “the greatness and piteousness of humanity”.

I would argue that the points that the essayist made to justify how Dany supposedly fits these five requirements are all very skewed.

1) When it comes to requirement 1 (Dany’s chapters contain supposedly deliberate references to Shakespearean plays), the essayist is conveniently cherry-picking (as they often do throughout the meta). Bran Stark wants a dreamless sleep just like Dany: “Sweet, dreamless sleep, Bran thought.” (ACOK Bran I); “That night Bran prayed to his father’s gods for dreamless sleep.” (ACOK Bran II). Indeed, @marinabridgerton argues that that’s most likely tied to the fact that they’re the two characters most heavily associated with prophecies. Even Sansa is said to have a dreamless sleep: “Sometimes her sleep was leaden and dreamless, and she woke from it more tired than when she had closed her eyes” (AGOT Sansa VI). And yet, where are the essays about how these quotes are teaching the readership to interpret Bran’s and Sansa’s characters, storylines and trajectories based on Shakespearean tragedies?

2) When it comes to requirement 2 (Dany is “torn by an internal struggle”, namely peace versus violence or companionship versus rulership or home versus the Iron Throne, all of which also drive the external conflicts. Choosing the second options will lead to her demise), the essayist is right to point out that those dilemmas exist. However, they portray Dany’s struggles in a way that makes it seem that 1) there are “good” options (peace/companionship/home) and “bad” options (violence/rulership/Iron Throne) for Dany to take and that 2) choosing the latter ones will lead to Dany’s downfall. There is a lot to question about these assumptions.

2.1) When it comes to Dany’s conflict between peace versus violence, the essayist takes everything that Adam Feldman’s series of essays “Untangling the Meereenese Knot” says for granted when it shouldn’t be. I’m not going to delve into all the problems/inaccuracies/double standards with those essays. For our purposes here, it’s enough to say that they: 1) dichotomize Dany’s identity into mhysa and mother of dragons to argue that the former represents her desire for peace and the latter her violent impulses; 2) assert that the peace was real; 3) conclude that, by rejecting the peace, the Dany of ASOS is gone and from now on she’s going to be a very different person because she will have chosen to follow her violent impulses.

As already argued before, though, 1) Dany’s character can’t be dichotomized in that way because these facets - mhysa and mother of dragons - actually complement each other (as @yendany made clear in her most recent meta). Because Dany was the mother of dragons, she was able to act as mhysa way before she was hailed as such, which we see, for instance, when she kills the Astapori slave masters to free the Unsullied. Both of these identities manifest Dany’s fierceness when faced with great injustices. This is why, in ADWD, locking her dragon children prevented Dany from properly defending her human children… She needs to integrate both parts of her identity to be able to protect them. But Feldman couldn’t recognize that because 2) he accepts the peace deal that Dany made with the slavers as valid. Doing so would mean, however, ignoring the re-enslavement and suffering of thousands of marginalized people, which GRRM continually emphasizes in Dany's and Tyrion’s final ADWD chapters (read more about this here and here) to hammer home that the peace is false for prioritizing the slavers over them. Finally, 3) Dany is not a violent person nor does she have violent impulses. Feldman decontextualized the moments in which Dany uses violence from the standards of her time and place (read more about this here and here and here and here) to portray them in a more negative light than how they are actually meant to be viewed. Additionally, he conveniently left out all the moments in which Dany chooses to be merciful, from when she spares Yunkai and most of the Meereenese slavers (she didn’t do the same in Astapor because she was outnumbered and needed to protect her retinue) to when she doesn’t punish people who threaten or disrespect her to her face (such an envoy who spits at her face, a boy who tries to attack her, Xaro after he says he wishes he’d killed her), to give a few examples (read more about this in @rainhadaenerys's comprehensive meta). I would argue that Dany’s conflict is less about peace versus violence and more accurately about her tendency to be merciful versus her desire for justice (which, especially in the particular context she finds herself in, is unattainable without violence). In fact, I would go further and say that it’s distasteful to characterize Dany as someone “violent” or with “violent impulses” when, so far, she’s only used violence to a) defend and protect victims of (physical and systemic) violence and/or b) in circumstances in which her actions are no more problematic than those of any other leader of her world. And yet, the essayist portrays them as if they were (“To choose indiscriminate destruction over peace tends toward the evil”).

It’s also convenient that the essayist only talks about fire negatively (“Dany wields unmatched power that can “make or unmake at a word”—Dracarys—villages, armies and kingdoms”, “in the words of Maester Aemon, “Fire consumes.””) when it's also connected to life, rebirth, healing and enlightenment. And dracarys in particular is explicitly associated with freedom by the narrative while Dany frees the Unsullied (her decision, in turn, is associated with her future actions in the War for the Dawn). But acknowledging these things would make it harder to portray Dany as a Shakespearean tragic hero.

2.2) When it comes to Dany’s conflict between companionship and rulership … Again, the dilemma exists, but not in the way that the essayist presents it. What I mean is that they go out of their way to make it seem that Dany’s loneliness was the main factor driving her decisions, such as the liberation of the Unsullied (“She feels for the forced loneliness of the Unsullied, and it is loneliness that convinces her to commit violence in the plaza to free the slaves—just as it is in loneliness she chooses violence amidst the Dothraki Sea.”)... And not, y’know, her compassion and sense of justice (“Why do the gods make kings and queens, if not to protect the ones who can’t protect themselves?”), which are rarely acknowledged in this essay even though it’s arguably the main aspect of Dany's characterization. Why does the essayist do that? Because, since they are arguing that Dany is a tragic hero, they need to present Dany’s loneliness both as the reason why she achieved greatness and as the reason that will lead to her demise when she (supposedly) starts distrusting people, closing herself off and choosing violence (“the moral conviction she feels for her abolitionist crusade is part of the greatness that is also her tragic trait [...] She feels for the forced loneliness of the Unsullied, and it is loneliness that convinces her to commit violence in the plaza to free the slaves—just as it is in loneliness she chooses violence amidst the Dothraki Sea.”). As I said, however, doing so requires downplaying Dany’s compassion, as well as ignoring the fact that she does not close herself off to people in ADWD, nor is there any sign that this was seeded as a serious issue for her in future books (especially considering that her governance is meant to be contrasted with Cersei, the character who actually does close herself off to people. But more on that below when I talk about why Dany doesn’t fit the essayist’s third requirement).

Also, singling out rulership in particular as a reason for Dany to feel alone is conveniently selective (“Returning to Westeros means ruling Westeros - and ruling means loneliness”). All the major characters have reasons to feel lonely and isolated in their society because GRRM chose to focus on the underdogs. Their social standings are already enough to make all of them feel alone. As he said, “Tyrion of course is a dwarf which has its own challenges. Dany is an exile, powerless, penniless, at the mercy of other people, and Jon is a bastard”. You can also throw in Arya for being a young girl struggling to adhere to gender norms and Bran for being a disabled child. And that is just one example… There are a myriad of reasons and situations for various characters to feel lonely and isolated, but the essayist specifically chose to talk about how rulership causes that for Dany. And, considering that the essayist thinks that Dany’s rulership -> growing isolation and loneliness -> her ultimate downfall, it really feels like they’re punishing Dany narratively for acquiring and wielding power. Which leads me to the next point...

2.3) When it comes to Dany’s conflict between home and the Iron Throne, I would argue that that’s not really a conflict. Dany (like any feudal leader) believes she needs to retake the Iron Throne to stay in her homeland just like the Starks believe they need to retake Winterfell to stay in their homeland. Whether Dany finds herself at home in Westeros or not is irrelevant to that fact. And yet, the essayist only presents the former as being in the wrong for fighting for her birthright. However, as it's been already explained before, the Starks’ claim to the North isn’t morally righteous. They only have dominance over the North because, for thousands of years, their ancestors fought against, drove away and killed most of its indigenous population (the Children of the Forest), as well as multiple families who were also vying for control over the region. With that in mind, Dany fighting for her birthright isn’t any more problematic than the Starks enjoying the lands and privileges obtained with conquest and bloodshed, as well as the labor of peasants. One could argue that GRRM may have a double standard against Dany in this case (though it's been argued before that he doesn't intend to present the Iron Throne as a source of greed and evil like how fandom presents it) because of the order of the events and depending on whether he holds Dany accountable for more problems for waging her war than the Starks for having done/doing essentially the same thing, but that’s not what the essayist is doing. Instead, they a) take for granted that Dany is doing the wrong thing for fighting for the Iron Throne ("To delay the call of the North and continue to divide an already weakened realm is to give into dark desires.") and b) center all their speculations about her eventual demise based on that belief.

Ultimately, I would argue that none of these three dilemmas - peace versus violence, companionship versus rulership, home versus the Iron Throne - come with easy answers. When it comes to the first conflict, it’s important that Dany prioritizes the lives of the slaves over the privileges of the masters, but that causes more war and bloodshed. When it comes to the second and the third conflicts, it’s worth noting that the first options (which the essayist presents as the “good” ones) are actually the selfish paths for Dany to take. After all, she would rather live a normal life with a husband (companionship) in the house with the red door (home) - “She would rather have drifted in the fragrant pool all day, eating iced fruit off silver trays and dreaming of a house with a red door, but a queen belongs to her people, not to herself”. But, as the quote shows, instead of choosing these selfish goals, Dany accepts the burden of rulership and the fight for the Iron Throne because of her duty towards her people and ancestors. And, while this path leads to war (either in Meereen or in Westeros, though the former is morally righteous and the latter, while not inherently justified, is not any more problematic than Robb fighting for Northern independence), power is also the means through which Dany can make changes that benefit the common people.

With all that said, it’s ironic that Dany fans are often accused of flattening her character or her choices when it’s actually her detractors or “neutrals” (like the essayist) who do so - they are dead set on portraying Dany’s available options as either “good” or “bad” and on speculating that choosing the latter ones will lead to her downfall, but the text actually gives her conflicts in which all the options have their pros and cons.

The essayist also makes a mistake that isn’t really up to interpretation or difference in opinions. They say that, in AGOT Daenerys III, “after admitting this difficult truth [that Viserys will never take back the Seven Kingdoms], Dany assumes the goal for herself (and at the time, her son)”. That is incorrect. In AGOT Daenerys V, moments before Viserys’s death, Dany says she would have allowed him to have the dragon eggs because “he is my brother … and my true king”. Jorah doesn’t think she should still acknowledge him as such, but she tells him that “he is all I have”. So no, Dany hadn’t assumed the goal for herself at that point, she only took over his campaign in her son's name (not hers) after Viserys's death. But the essayist needs to exaggerate Dany's ambition to justify her demise, since they speculate that “in that hurt and betrayal, all that will be left - she will think - is the crown”.

3) When it comes to requirement 3 (prophecies and “influential accidents” - that is, events that “have roots in a character’s motivation”, as well as “the sense of ‘if only this had not happened’” - will “heighten and exaggerate [tragic flaws that] already [exist]” in Dany), the problem is not in cherry-picking or in double standards against Dany, but rather in the essayist’s lack of knowledge about Dany’s characterization. It’s simply not true that Dany’s distrust of people grows to the point that she closes herself off to them. Instead, I would argue that Dany is actually portrayed as someone with a healthy distrust of people. We know from the books (1, 2, 3, 4) that she finds it unlikely that Barristan, Grey Worm or Missandei would ever betray her, but that she doesn’t think she can rely entirely upon Reznak, the Green Grace, the Shavepate, Hizdahr and Daario. Do Dany’s doubts about these people’s intentions lead her to, as the essayist says, “push people away”? No. Through almost all of ADWD, she (wrongly, though understandably) believes that "until [freedmen and former masters stand together, Meereen will know no peace". Accordingly, Dany is willing to listen to the counsel of all of her advisors (both the ones she trusts and the ones she distrusts) to ensure that she makes informed decisions. To give some examples:

Dany allows “well spoken and gently born” people (i.e., not the typical condition of most former slaves, who are glad that Dany freed them) to sell themselves into slavery and imposes a tax each time men chose to do so like how it happened in Astapor (ASOS Daenerys VI). By making this decision, she agreed with both Missandei and Daario.

Dany employs the Unsullied to ask the Blue Graces if someone showed up with a sword wound and to ask butchers and herdsmen who’s been gelding goats (ADWD Daenerys I). By making this decision, she disagreed with Barristan.

Dany chooses not to punish any noble in response to the murder of Stalwart Shield and only increases the amount of gold for whoever gives information about the Sons of the Harpy (ADWD Daenerys I). By making this decision, she agreed with Reznak and disagreed with the Shavepate.

Dany gives up on banning the tokar and wears it herself (ADWD Daenerys I). By making this decision, she agreed with the Green Grace.

Dany (rightly) refuses to reopen the fighting pits for a while until she later relents in the name of the peace with the Meereenese nobles (ADWD Daenerys I, II, III, VI). By making this decision, she disagreed with Hizdahr, Reznak, the Green Grace and the Shavepate and agreed with Missandei.

Dany delays the choice of a husband until it becomes necessary later (ADWD Daenerys I). By making this decision, she disagreed with Reznak, the Shavepate and the Green Grace.

Dany chooses to pay the shepherds for the animals that they say their dragons ate (ADWD Daenerys I). By making this decision, she disagreed with Reznak.

Dany pays Hazzea’s father the blood price (i.e., one hundred times the worth of a lamb) for her death, lays her bones to rest in the Temple of the Graces and promises to pay for his children each year so they shall not want (ADWD Daenerys II). By making this decision, she disagreed with the Shavepate.

Dany allows the Shavepate to torture the wineseller and his daughters for information about the Sons (ADWD Daenerys II). By making this decision, she agreed with the Shavepate.

Dany imposes a blood tax on the noble families to pay for a new watch led by the Shavepate, takes the gold and the stores of food of any nobleman who wishes to leave the city and keeps two children from each pyramid as hostages instead of letting the nobles go unpunished after nine freedmen were killed by the Sons (ADWD Daenerys II). By making this decision, she agreed with the Shavepate and disagreed with Reznak.

Dany has Barristan and Groleo and his captains and sailors to inspect Xaro’s ships (ADWD Daenerys III). By making this decision, she agreed with Barristan.

Dany chooses not to go to Westeros despite being offered ships to do so (ADWD Daenerys III). By making this decision, she disagreed with Barristan.

Dany doesn’t kill her child hostages despite the Sons’ ongoing attacks (ADWD Daenerys IV). By making this decision, she agreed with the Green Grace and disagreed with the Shavepate.

Dany agrees to marry Hizdahr if he’s able to give her ninety days of peace in Meereen (ADWD Daenerys IV). By making this decision, she agreed with Hizdahr, the Green Grace and Reznak and disagreed with the Shavepate, Barristan, Missandei and Daario.

Dany refuses to gather the masters and kill them indiscriminately (ADWD Daenerys IV). By making this decision, she disagreed with Daario.

Dany doesn’t allow the Shavepate to continue his tortures due to their unreliable results (ADWD Daenerys V). By making this decision, she agreed with Hizdahr and disagreed with the Shavepate.

Dany refuses to use her dragons in battle (ADWD Daenerys V). By making this decision, she agreed with Reznak.

Dany decides not to take the field against Yunkai (ADWD Daenerys V). By making this decision, she agreed with the Shavepate and disagreed with Barristan.

Dany brings the food to the Astapori refugees instead of sending someone else to do it (ADWD Daenerys VI). By making this decision, she disagreed with Reznak, the Shavepate and Barristan.

Dany burns the dead among the Astapori refugees, bathes an old man and shames her men into helping her (ADWD Daenerys VI). By making this decision, she disagreed with Barristan.

Dany refuses to allow Hizdahr’s mother and sisters to inspect her womb and to wash Hizdahr’s feet before he washes hers (ADWD Daeneerys VI). By making this decision, she disagreed with the Green Grace and Reznak.

Dany decides to marry Hizdahr by Ghiscari rites and to wear a white tokar fringed with pearls (ADWD Daenerys VI). By making this decision, she agreed with the Green Grace and Reznak.

Dany allows Hizdahr to reopen the fighting pits (ADWD Daenerys VI). By making this decision, she agreed with Hizdahr, the Green Grace and Reznak.

Dany goes along with a peace agreement with the Yunkish slavers in which she’ll let Yunkai and Astapor reinstall slavery if they leave Meereen intact (ADWD Daenerys VI). By making this decision, she agreed with Hizdahr.

Dany holds court in order to, among other reasons, meet the Westerosi men that came over from the Windblown (ADWD Daenerys VII). By making this decision, she agreed with Daario.

Dany doesn’t accept Quentyn’s marriage proposal because she doesn’t want to abandon her people (ADWD Daenerys VII). By making this decision, she disagreed with Barristan.

Dany doesn’t ride a horse in a tokar to meet Hizdahr (ADWD Daenerys VII). By making this decision, she agreed with Missandei.

Dany decides not to sound out the Company of the Cats (even though she wanted to) because Barristan says he's untrustworthy (ADWD Daenerys VIII). By making this decision, she agreed with Barristan.

Dany attends the reopening of the pits (ADWD Daenerys IX). By making this decision, she disagreed with Missandei.

Dany allows the Brazen Beasts to guard her because she wants to show that she trusts them so that her people can trust them as well (ADWD Daenerys IX). By making this decision, she disagreed with Barristan.

Dany prevents Tyrion and Penny from fighting against lions with wooden swords. By making this decision, she disagreed with Hizdahr.

I didn’t include all of Dany’s decisions because she makes many of them on her own and/or without someone explicitly supporting them or opposing them (in fact, many of the ones above were made without any advisor giving her their feedback, but I listed them if they’re seen agreeing or disagreeing with her onpage anyway). That being said, note that Reznak is the one that Dany is most suspicious of (because he perfectly fits the description of one of the treasoners), but that five of her decisions follow his recommendations, in contrast to Barristan (the knight who she actually trusts and who keeps all her secrets) only having his advice followed twice. Also note that Dany “trusted Skahaz more than she trusted Hizdahr”, but she agreed with the former three times and disagreed with him eight times, in contrast to having agreed with the latter four times and disagreed with him twice. The list clearly shows that Dany listens to everyone’s feedback (including from people she distrusts), considers it carefully, makes her own decisions and handles dissent extremely well. Her actions reflect her own words (“A queen must listen to all. [...] One voice may speak you false, but in many there is always truth to be found”, “It seems to me that a queen who trusts no one is as foolish as a queen who trusts everyone”).

There is, however, one character who is seen only listening to people who agree with her and who distrusts and closes herself off to almost everyone - Cersei Lannister. And it’s especially worth noting that Cersei is meant to be “directly contrasted” with Dany, that the author was “doing point and counterpoint” with them and that each of them is meant to show ��a different approach to how a woman would rule in a male dominated, medieval-inspired fantasy world”. In other words, Dany and Cersei are narrative foils, but Cersei’s traits are being transferred to Dany in this essay.

Also, I could just as easily create an entire narrative about how Sansa will end up closing herself off to people based on what we see on canon. She thought she could trust Joffrey, but she ultimately couldn’t. She thought she could trust Cersei, but she ultimately couldn’t. She trusted Sandor, but he left her. She tried to trust the Tyrells, but they ultimately disposed of her after she was no longer necessary. She tried to rely on Dontos, but he was a disappointment and was ultimately murdered. She doesn’t trust Littlefinger, but she needs to stick to his side because she has no better option. She considered telling the Vale lords her identity, but she doesn’t trust them. All of this feeds into Sansa’s distrust of others and will lead to tragic consequences. Indeed, as Sansa herself says, "In life, the monsters win". I bet that the essayist would find this whole speculation biased considering that they favor Sansa's character. But then, why is only Dany singled out as the one who is going to meet her demise even though it’s made clear that she continues to trust people through and through?

The essayist needs to say that Dany starts distrusting people to an unhealthy degree (“As Dany gains more power, [...] her focus on the treasons causes her to push people away, widening the gap between rulership and companionship”; ”The more power she gains, the greater her isolation and likely her fear of betrayal. The fear of betrayal is, of course, human. But GRRM has stated that he likes to turn dramatic situations up to 11, which is necessary to create the Shakespearean tragic hero. Dany’s fear must be larger than life.”), as well as to judge her campaign to take back the Seven Kingdoms based on double standards (“Dany’s great sin within the story’s moral order will have been focusing on the war for Westeros against Aegon VI before she turns to the enemy of the North”) compared to the Starks. If they didn’t do so, there wouldn’t be a reason to justify Dany’s demise. If they didn’t do so, the entire speculation that she’s a Shakespearean tragic hero falls apart. But saying that something is true doesn’t necessarily make it true, you need to provide the textual evidence (which they barely do … They assume that the reader will take almost everything they say for granted. After all, since there’s a prophecy foretelling that Dany will be betrayed three times, of course she’s going to distrust people way too much from now on).

There’s also another aspect of Dany’s relationship with prophecies that the essayist portrays inaccurately. They say that “the effect of this prophecy on Daenerys is multifaceted” for “[promising] greatness” (which, along with the also inaccurate statement that “part of Dany’s pursuit of the Iron Throne is born from a sense of destiny”, implies that Dany wants to be great or that she thinks of herself as great, none of which are true) and pushing her “further from the people who surround her”. I already questioned the latter statement, and the former is inaccurate too. After all, Dany has doubts that there are men in Westeros waiting for the Targaryens to return. The birth of the dragons has to do with the fact that Dany was able to put two and two together with clues from dragon dreams and Mirri's words, not because she thinks she's exceptional. Dany is not really sure that the red comet was meant for her. She followed its direction because the other paths weren't reliable and, even in Qarth, she's unsure that it was meant to guide her to success. Then she never thinks about it again. I'd expect otherwise from someone who thinks they're exceptional. Dany is surprised when told by Quaithe that she's the reason why magic is increasing in the world and never thinks or brags about it after their interaction. I'd expect otherwise from someone who thinks they're exceptional. Dany doesn't think she won any victories in the House of the Undying, she credits Drogon for burning the Undying Ones. She only allows Jhiqui to add a bell to the end of her braid because "the Dothraki would esteem her all the more for a few bells in her hair". Dany refuses to sit on the throne inside the Great Pyramid's audience chamber and chooses to sit on a simple ebony bench that the Meereenese think does "not befit a queen". Dany refuses the offer to have a statue in her image to replace the bronze harpy in the Plaza of Purification. I'd expect otherwise from someone who thinks they're exceptional. Dany is highly self-critical and, later in ADWD, thinks that she "was as clean as she was ever going to be" after taking a bath because she holds herself accountable for the upcoming slaughter in the opening of the fighting pits. I'd expect different from someone that thinks they're exceptional. Dany doesn’t think that the people who came to the reopening of the pits wanted to see her - “it was my floppy ears they cheered, not me”. I'd expect different from someone that thinks they're exceptional. Most of Dany's titles (the Unburnt, Mother of Dragons, Mhysa, Azor Ahai, etc) are given to her by other people, they're not self-proclaimed (not that there's a problem if they were, I'm only saying it to reiterate that Dany doesn't think she's exceptional). The ones that she assumes on her own are the ones that anyone who believes in birthright (i.e., everyone in her time and place, regardless of family, regardless of whether they're Targaryens) would assume.

4) When it comes to requirement 4 (Dany will (according to the essayist’s speculations) take actions that produce “exceptional calamity” and her demise will be “her own choice and doing”) … Well, we now enter the realm of speculation. It’s not impossible that Dany “will feel like a villain to the Westerosi, as she burns their villages and crops ahead of a hard winter” in the future. The problem here, once again, is in the double standards. Look at the way the essayist describes the likely reascendance of the Starks in the upcoming books - “With the death of “good” characters like Ned, the injury of innocents and moments such as the Red Wedding, ASOIAF as a story is not concerned with justice. But as the story progresses, we see that the way Ned ruled his people and raised his children contrasts with characters like Tywin and his methods. Much of the North seems to continue to rally behind the idea of the Starks, some with less “honorable” methods than others, while Tywin’s legacy begins to fall apart. Like in Shakespeare’s tragic world, there appears to be an order that arcs towards a higher idea of goodness that instills a dramatic satisfaction”. Like I said above when I questioned requirement 2, the Starks’ claim to the North is no more justified than Dany’s to the Seven Kingdoms. They have the advantage of having had their rule normalized throughout the thousands of years they ruled the North, but it doesn’t change the fact that, because they’re feudal lords, they still maintain a system rigged in favor of the nobles that promotes social inequality and extreme lack of social mobility. It doesn’t change the fact that there's no righteous form of feudalism. But only Dany is criticized in that sense by the essayist - “By nature, power breeds inequality, when one party has the ability to decide the fate of another. That inequality creates distance. As a queen Dany wields absolute power over the rest of her subjects and her court”. Which is pretty infuriating not only because the Starks are also morally grey in the sense that the essayist describes, but also because GRRM specifically mentioned that Daenerys is the ruler "who wants equality for everyone, she wants to be at the same level as her people". Additionally, if Ned left a legacy that motivated his people to fight against his enemies, so did Dany with the former slaves. But the essayist needs to ignore all of that to paint Dany as a Shakespearean tragic hero.

Even if we don’t take into account what TWOIAF reveals about the Starks’ ancestors, the main story itself often paints House Stark’s actions in a negative light. We see a peasant spitting at the mention of the Starks and saying that things were better with King Aerys II in power. We're told that Northmen looking for Jaime on Edmure’s orders burned a village called Sallydance and were guilty of rape and murder. It’s no wonder that the High Sparrow mentions the wolves along with the lions as threats to the septas. Also, thousands of soldiers died indirectly because of Robb’s decisions, as well as lots of people who remained north and became vulnerable to raping and pillaging due to his inability to hold Winterfell. And finally, when winter comes, the smallfolk will be affected by the actions of the northmen, who (like Dany might do in the future) already helped to disrupt the harvest and to leave the continent short on food. And yet, why is their future success framed as “an order that arcs towards a higher idea of goodness”? Why is Dany the only one who is said to be “giv[ing] into dark desires” by “divid[ing] an already weakened realm” when the Starks (framed as the heroes in the essay) did the same thing? This double standard gets infuriating when one remembers that Dany is the one fighting a war in the name of the disenfranchised (even though she is not connected to them by blood or lands or oath of fealty and doesn’t gain anything by helping them), while the Starks are (and will be, if they want to retake Winterfell) fighting a war because of personal injury (which, sympathetic as it may be, doesn’t justify the damage that they caused to the smallfolk). It gets even more infuriating when, as @rakharo pointed out to me, one remembers that, while Dany is trying to right the wrongs of the Valyrians by ending slavery in Slaver’s Bay, none of the Starks have acknowledged, much less tried to make amends for injustices perpetrated by the First Men against the Children of the Forest. It gets even more infuriating when one remembers that Aegon the Conqueror united Westeros in preparation for the War for the Dawn (something that GRRM himself confirmed), while the Starks’ ancestors conquered the North solely because of their greed. That's why Dany’s story can’t be effective as a tragedy: she’d be punished for starting to do what everyone else was doing after doing more than almost everyone else was doing.

5) When it comes to requirement 5 (Dany “[rose] high in position” and is “an exceptional being”, which sets her apart as a character that fits the mold of the Shakespearean tragedy because her reversal of fortune will highlight “the greatness and piteousness of humanity”), again, we’re in the realm of speculation. But there are some things to question as well. First, the essayist validates the criticisms that Dany “too easily ascends to a position of power” by using them as proof that she’s a tragic character. But that’s not really true, which becomes clear with a few comparisons: the Starks lost their father, mother and older brother throughout the story because of the Lannisters, which Dany also did; but her losses go beyond them: she also lost another brother, her first husband and her first child. The Starks had their direwolves given to them, Dany had to use her intuition and then literally walk into a fire to birth her dragons. Aegon the Conqueror used dragons to take Westeros, Dany conquered three cities without barely using hers. Jon Snow’s conflict in ADWD involves conciliating the Free Folk and the Night’s Watch after he makes decisions favoring the former group, while Dany’s involves conciliating the freedmen and the slavers after she makes decisions favoring the former group, which has a worldwide impact; Jon’s conflict has relatively low stakes (because it hasn’t involved the Others so far), Dany’s conflict leads to “half the world” wanting her dead. As these examples show, Dany suffered more losses than the Starks. Dany had to do a lot more than the Starks to find her animal companions. Dany became a conqueror primarily because of her military strategies and resourcefulness without relying on dragonfire like her ancestor. Dany faced greater opposition than her male counterpart Jon so far. As we can see, gaining power and retaining it has not been easy for Dany at all. Every single one of her accomplishments has been earned. But it sure is interesting that Dany’s supposed future tragedies must stem from her actions, but that her victories aren’t given the proper credit and acknowledged as being a result of what she also did as well.

And then the essayist declares something even more inaccurate: that Dany “overcame each obstacle that came her way” and that “Robb and Jon paid for their mistakes while Dany did not” (which, to the essayist, is evidence that “Dany’s fall is meant to stand in contrast as something grander than just one slip-up”).

First of all, Dany clearly did not overcome every obstacle that came her way. Saying so means ignoring all of her ADWD storyline (and it’s funny how Dany's detractors go from saying that she’s overpowered and hasn’t suffered consequences to accusing her of being a bad ruler precisely because she dealt with the negative consequences of her choices, lol). To recap, Dany had an indirect part in the wars outside Meereen because she left the Yunkish slavers’ wealth intact, which leads to terrible consequences - multiple city-states and sellsword companies joining forces against her, Astapor’s fall, the pale mare’s outbreak, the emergence of refugees from Astapor outside her city and the upcoming Battle of Fire. Dany had an indirect role in the wars inside Meereen because she left most of the Meereenese slavers alive with most of their wealth intact, which leads to terrible consequences - the Sons of the Harpy’s attacks and dozens of freedmen’s deaths. Additionally, Dany had an indirect role in Hazzea’s death because Drogon was allowed to roam freely and she had no way to train him or her brothers. All these problems culminate in Dany agreeing with a peace deal that, as already explained here, was inherently unjust for prioritizing the slavers over the freedmen. Dany had to learn that, as much as she wants peace and to plant trees, there are situations in which she can’t be merciful because violence really is the only way to achieve justice for the disenfranchised. (On the flip side, that’s one of the reasons why I’m critical of the theory that Dany accidentally burns King’s Landing. When she was merciful, as I just listed, great tragedies occurred (which is fine, it was a realistic exploration of what happens when you abolish slavery and try to do good). When she used fire and blood, great tragedies will occur too? Even though she would be acting just like the Starks or any other feudal lord by fighting for her birthright? The theory narratively punishes Dany in a way that it doesn't do with the Starks, which is why it's no wonder that it was created by someone with Stark/Stannis biases. Additionally, it validates the common belief that Dany is only meant to be a wartime queen, even though she’s already showed that she’s a good peacetime ruler.)

Second, is dying the only way to pay for one’s mistakes (considering that only Robb and Jon are listed as examples of characters who did)? I don’t think so. Consider Sansa. Didn’t she pay for the mistake of going to Cersei to tell her of Ned’s plan? I would say she did. I would say the author agrees - “Sansa was the least sympathetic of the Starks in the first book; she has become more sympathetic, partly because she comes to accept responsibility for her part in her father's death”. Similarly, Dany had to accept her indirect responsibility for the tragedies that I just listed (Hazzea, forgive me; No marriage would ever bring them back to life, but if a husband could help end the slaughter, then she owed it to her dead to marry.; “I should’ve gone to Astapor. [...] I am the queen. It was my place to know.”; “What kind of mother has no milk to feed her children?”). I would argue that Dany and Sansa both paid for her mistakes, which were acknowledged, made them suffer and influenced their character developments. But the essayist needs to say that Dany didn’t pay for them (or that she had an easy rise to power) to help to paint her as a Shakespearean tragic hero.

6) Now that the essayist’s five requirements have all been questioned, I would also like to mention positive prophecies and speculations related to Dany that are never brought up in this essay.

First, Dany is AA/PTWP/SWMTW. That was heavily foreshadowed (read more about it here) and built up to and, if it doesn’t happen, it frankly would be bad writing. After all, haven’t readers praised GRRM for the foreshadowing of Ned’s death (e.g., a stag having killed the mother direwolf in the beginning of AGOT)? Haven’t readers praised GRRM for the foreshadowing of the Red Wedding (which we see from Tyrion’s to Theon’s to Dany’s chapters)? And yet, the essayist thinks that Dany’s death will cause “the forces [to] become more even, making victory less sure, or the Others surpass the side of the living in strength” and that “the White Walkers gain Drogon, becoming one-on-one but with the White Walkers having the larger dragon.”

Second, Dany and Bran both have dreams in AGOT leading up to their magical awakening. Bran needs to fly to escape from the “cold” of the darkness below, while Dany needs to run from the “icy breath behind”. Both of these dreams culminate with Bran and Dany learning to fly and accepting their magical destinies, which will be important in the War for the Dawn. And yet, the essayist thinks that “by understanding that the concept of warmth is tied to companionship, we can understand that the cold, “icy breath” must represent the opposite: loneliness” to justify Dany’s demise. Instead, it's clear (especially considering the parallels with Bran) that "icy breath" is an allusion to the Others. But they can't acknowledge that Dany will have a crucial role in the War for the Dawn, otherwise their entire speculation falls apart.

Third, Quaithe was presented as the third of the three Qartheen envoys (after Pyat Pree and Xaro) that came to find Dany in Vaes Tolorro, which heavily implies that she breaks the norm and is the one person that Dany can trust. And yet, the essayist takes for granted that Quaithe’s “narrative connection to betrayal is already established”.

Fourth, Dany might as well be the prophesied betrayer, not the one who’s betrayed by three people (after all, she’s already been betrayed by more than three people - Jorah, Mirri, Pyat Pree, Xaro, Brown Ben, the person that gave her the poisoned locusts, etc). It would fit with the pattern of Dany being an active participant in the prophecies rather than a passive one (e.g. Dany is AA/PTWP, not the one who gives birth to the AA/PTWP or the one who dies as a sacrifice to AA/PTWP) even though, at first, the readership is expected to think otherwise. And yet, the essayist takes for granted that Dany will be betrayed because otherwise their entire speculation falls apart.

Fifth, Dany is foreshadowed to have a positive relationship with Jon because “the blue flower” from the “wall of ice” filled the air with “sweetness”. And yet, the essayist needs to say that Dany "[will push] Jon away [...] from fear of betrayal and hurt” and from worries that he might be a “usurper” (nevermind that they are mischaracterizing Dany as someone overfocused on retaking the Iron Throne and who closes herself off due to prophecies, none of which are not true, as I already showed above) because otherwise their entire speculation falls apart.

7) Finally, I would also like to ask: what’s the point of giving Dany a storyline like this? Not only because it would be unearned due to the double standards and the changes that would have to occur in her characterization, but also because Dany has a special place in the narrative. She is 1) one of the two women (along with Asha) claiming power in her own right and the only one that we actually got to see rule, 2) one of three Chosen Ones (along with Bran and Jon) and the only female one, 3) one of two POV revolutionaries (along with Jon) and the only female one (and the one whose storyline arguably has the most political messages since she’s fighting against human slavery), 4) one of two POV female rulers (along with Cersei) and the only one who’s been depicted as competent (because she subverts the Good Princess Evil Queen dichotomy), 5) one of two Targaryen conquerors (three, if Young Griff does indeed take Westeros) and the only female one - “Aegon the Conqueror with teats”, 6) the only major mother who isn’t sure to be doomed and/or hasn’t gone mad, 7) one of two Targaryen queens regnant (along with Rhaenyra) and the only remaining Targaryen woman who gets to have power after a long line of Targaryen women - Rhaenyra herself, but also Rhaena, Aerea, Rhaella, Daenerys (Alysanne’s daughter), Rhaenys the Queen Who Never Was, Baela, Rhaena of Pentos, Daena - who were disempowered. GRRM already has a terrible history with female leaders in particular. If he causes the downfall of another one (especially one who is also one of the five main protagonists) for such unearned reasons like the ones that the essayist laid out, there would also be sexist implications. It would make the only she-king that we saw wielding power onpage overly defined by violence and destruction in a way kings don't have to be depending on their actions, it makes the only competent POV female ruler look incompetent in comparison to the other POV male rulers and it makes her conquest a disaster while the other male Targaryen conqueror (two, if Young Griff takes Westeros) gets to succeed. And yet, death by childbirth is the only speculation that the essayist calls out as problematic (“death by childbirth is a uniquely biologically female phenomenon and would be punishing Daenerys for her sexuality”).

8) What I find insidious about essays like this one is that they pretend to be unbiased (I do not argue for the death of Daenerys as a judgement on her ethical/moral goodness as a character nor of the world she inhabits. I argue it on the strength of her characterization and story, that she should be able to encompass such intensity and greatness as to be considered as complex as all these other single-name headliners in literature.) even though they really aren't. To recap, the essayist portrays Dany as someone with "violent" impulses even though she's a merciful person in general, accepts the peace deal with the slavers as valid even though it prioritizes the slavers' privileges over the lives of marginalized people, only talks about the negative connotations of fire, downplays Dany's compassion and sense of justice, argues that Dany is losing her ability to trust others even though she isn't, says that Dany is negatively affected by promises of greatness even though she isn't, argues that Dany had an easy rise to power and didn't pay for her mistakes even though she did, paints Dany's campaign to take the Iron Throne in a negative light without doing the same with the Starks having dominance over the North and ignores Dany's foreshadowing as AA/PTWP, as well as her special place in the narrative. So it’s not that Dany stans are unable to accept Dany’s mistakes and flaws, it’s that people who dislike her can’t understand her characterization or acknowledge the double standards against her or accept her particular place in the story. At the end of the day, an essay like this one is no better than jonsa metas mindlessly hating on Dany because, just like them, as @semperty and @niniane17 made clear, it also creates speculations with the intent of making Dany self-destruct and become irrelevant to pave the way for their preferred characters. The only difference is that it's more successful at appearing "neutral" to someone who doesn't remember what happened in the books very well, especially because Dany has become a polarizing character for a variety of reasons and it's easy to buy into the Appeal to Moderation fallacy.

Also, as I said before, the fact that these Twitter 'neutrals' all misunderstand Dany's characterization, downplay her struggles and judge her by different standards actually makes me somewhat hopeful that she's getting a better ending, because how can their speculations come true if they don't know Dany at all? But then, it's hard to trust GRRM.

[bamfdaddio]

X-Men Abridged: 1981 - the Body-Swap

The X-Men, those body-swapping mutants that have sworn to protect a world that hates and fears them, are a cultural juggernaut with a long, tangled history. We’ve been untangling that history for a while, but sometimes, you really want a more in-depth look. Interested? Then read the (un)Abridged X-Men!

(Uncanny X-Men 151 - 152) - by Chris Claremont and Josef Rubinstein

Emma Frost and her frenemy Ororo Munroe have not been getting along! One fateful evening, as the two quibble away, they mysteriously switch bodies and minds. Talk about your Freaky Friday! What lessons will they learn, walking a mile in one another’s shoes? And will they be able to switch back, or will they stay in each other’s bodies forever? Mutant Monday, coming soon to a cinema near you. Starring: Elizabeth Banks, Angela Bassett and Elliot Page. (PG-13)

For a moment, we’re in a proper period drama: a letter delivers ill tidings!

I love that Kitty’s parents are so self-involved that it took them A WHOLE YEAR to realize that it’s weird that Kitty is the only non-adult attending the Xavier Institute.

I can only assume the mailman interrupted a pool party of some kind? Or a communal shower? I get why Kurt would not swim a lot - all that fur - but did Scott wear that while they were splashing around? Was it a beach volleyball competition where one half got to wear swimsuits and the other half superhero costumes? Most importantly, was Scott’s costume always this tight?

Not that I’m complaining, mind you.

The awful thing is that Kitty’s parents are transferring her to the Massachusetts Academy, not realizing that headmistress Emma Frost is, in fact, a terrible human being. Charles, uncharacteristically, says that changing their minds telepathically is a line he does not cross (any more) and half the viewing audience bursts out in laughter. More importantly, last they saw Emma, she was kind of dead-by-Phoenix, so it might be better there this time? Kitty does a Classic Teenage Stomp-Off and Storm comes to comfort her. Kitty cries that life is unfair (“My parents are only doing this because they’re splitting up”) and Ororo tells her that yes, life is unfair. You just gotta roll with the punches as best you can.

To be fair, bald men are technically all cheek, so it doesn’t matter where you kiss them.

While I enjoy the relationship Kitty has with the other X-Men (Scott gave her a compliment! Logan told her his name!), especially the mother-daughter-bond she shares with Ororo, the whole Piotr-thing always gives me pause. Even if we’re being very generous with age, Kitty is, what? 14 going on 15? And Piotr is… 19? At best? I get why Kitty would have a crush on him: he’s a gentle hunky giant: at fifteen, my teenage ass would have felt the exact same viz-a-viz Colossus’ upper arms. The fact that Piotr reciprocates feels skeevy, though, especially because they’re always treated like star-crossed idiots these days.

Skee-vy.

Ororo drives Kitty to Massachusetts, where her young ward is greeted by someone named Muffy and whisked away for orientation. All seems well. Ororo stands in a parlour, surveying the grounds and considering that they should have fought harder for Kitty. Still, nothing seems too wrong just yet: this Academy just seems very preppy.

Not-at-all-dead Emma takes her cue and jumps out, saying (essentially): “Surprise motherfucker.”

There’s a flash of light, and then...

I’m willing to bet that Emma’s EVIL journal has the following to-do-list: - Steal Storm’s body. - Experiment with her powers. - See how good Storm looks in white. (Leather? Fur?! Both!??) - REWARD: Smoke break.

I wonder if Emma’s plan hinged on being able to body-swap with Storm, or whether any X-Man would have sufficed. Was her original target Xavier? Cyclops? What if one of Kitty’s parents had brought her to Massachusetts, would she have taken Kitty instead?

In a locked cell, Storm wakes up in Emma’s body and is horrified. I wonder why Emma didn’t take any more precautions. Couldn’t the guy who made the freaky friday-gizmo also make a power dampener to nullify not!Emma’s telepathic abilities? Or did Emma count on her victim being so utterly incapacitated by her mind-powers that they’d be driven mad? (This would actually tie in with some of Emma’s later-revealed history: when her powers first emerged, she also got locked away in a padded room because of her madness.)

Emma is not wrong, by the way: Storm can’t get a handle on Emma’s powers. What follows is possibly the sweetest moment in an arc filled with sweet moments:

This arc isn’t drawn by any of the regulars - not Byrne, not Cockrum - but Josef Rubinstein brings his own kind of panache to the pages. I love the way he draws women’s faces: in a story that’s all about women, their faces are actually distinguishable. Kudoz.

Emma, meanwhile, coordinates with Sebastian Shaw to execute the second part of their two-pronged attack on the X-Men. They both laugh evilly in their phones while the mansion is attacked by Sentinels! These androids take out Cyclops and Xavier with some sleeping gas and knock out Nightcrawler, but the rest of the X-Men manage to trounce these robots. Then ‘Storm’ appears! She zaps the rest of the X-Men (and Amanda Sefton), successfully finishing their master-plan.

It’s not entirely clear what the Hellfire Club wants with the X-Men this time, but I’m assuming it’s more experimentation to improve the sentinels? Eh, doesn’t matter! Nefarious Hellfire Club is nefarious.

The real Storm, meanwhile, comes to claim Kitty, forgetting that she looks like the one and only Emma Frost. Kitty spooks and Storm accidentally reaches out, knocking her out telepathically. Whoops! Storm takes Kitty and flees in a car, while Emma gives chase. (How dare Ororo run off with her body, which is absolutely the kind of hypocritical hilariousness we all love Emma for.)

Kitty awakens and jumps from the car, causing Storm to swerve and...

JETSTREAM!? Speaking of which, where are the Hellions in all of this?

Kitty sees that an unconscious ‘Emma’ is about to burn to a tender and moist little crisp and she is faced with the hero’s dilemma: would you save a villain that would never save you?

Emma, meanwhile, has realized the downside to body-swapping: somebody else gets to run around with your body too. Shaw, of all people, talks her down from her anger.

You can’t just introduce a persona exchange gun to the plot WITHOUT EXPLAINING WHERE THE FUCK YOU GOT IT FROM.

My favorite detail is that Emma keeps calling Kitty brat, like she’s some sort of Pokémon-villain.

Kitty, meanwhile, has saved ‘Emma’ and tied her up with a special knot. Storm tries to convince Kitty, going for the “ask me something only Storm would know”, but Kitty’s all: “Duh, you’re a telepath.” Ororo insists, but the thing that clinches it is when she breaks free of her ties without breaking a sweat. That knot was taught to Kitty by Ororo and she’d be the only one who knew how to break out of it.

Storm and Kitty recruit Stevie Hunter to come pick them up and during the ride, Storm-being-angry-mother!Storm convinces Kitty more than anything else:

After all, Storm was voted most likely to say: “If you don’t stop this nonsense immediately, I will turn this Blackbird around, so help me God!”

Ororo and Kitty sneak inside. Ororo even uses Emma’s telepathy to help her pick a lock after phasing through a door. (Kind of funny: Kitty’s still such a neophyte that she can’t even phase with anyone else yet.) Emma, meanwhile, taunts the captured X-Men, presenting herself as the new white queen:

Anybody feel the inclination to point out that the Hellfire Club did this exact same thing last year, except then they tried it with a redhead?

I secretly suspect that the Hellfire Club’s plots always revolve around seducing X-Men to their side and dressing them up in sexy lingerie. (Which: fair.) There’s also a subplot where the guys Wolverine cut apart last year want to exact revenge on him for being made bionic, but eh. We’ll start paying attention to them when they become actual Reavers.

Kitty phases through the locks of the X-Men, freeing them, and a kerfuffle ensues. Emma starts using Storm’s powers, but they grow out of control. Colossus tosses Shaw out of the window - which should just be company policy, really: all Shaws should be defenestrated - where he’s promptly hit by a rogue thunderbolt.

When he doesn’t get up, Emma starts to lose it. The weather goes wild. Storm intervenes, using her telepathic power to help calm down Emma (and the raging storm), but she also manages to get a hold of the swap-gun. There’s a zap, and with a satisfied sigh, the status-quo is restored again.

My favorite implication is that, apparently, Emma decides which school Kitty attends and not her parents.

While this little arc is neither the most iconic nor the most profound of 1981 -- those would be Days of Future Past and I, Magneto, respectively -- I still love this for a couple of reasons.

As a lover of Freaky Friday, 17 Again and the new Jumanji-film, I just have a soft spot for body swap plots. (Hi Psylocke!)

It focuses on the Xavier Institute as a school, planting seeds for the upcoming New Mutants.

It is very female-driven without beating you over the head with it. (Looking at you, Birds of Prey.)

It has three definitive main characters, who all get fleshed out in fun and interesting ways. It starts the trend of robbing Ororo of some of her powers and tossing her into against-the-odds circumstances, only for her to come out on top.

It solidifies the Storm/Kitty mother/daughter (or older/younger sibling) dynamic. Kitty is a believable teenager when it comes to Storm - clever and kind, but also looking for answers and prone to rash decisions - and I love how much they care for each other.

Jean/Storm-friendship-callback, yay!

Emma gets fleshed out as a villain. Resourceful and petty, powerful and vain. It’s no wonder she’s one of the break-out antagonists of the X-Men, because, like Magneto, Claremont is not afraid of giving her depth. Arguably, she is the most three-dimensional of the Hellfire Club at this point.

Yay! And fuck completely sensible plots, if you don’t know what to do with your plot, just introduce a random persona exchange gun. Let’s use it on Xavier and Legion in Way of X next!

[saphirered]

I thought this would be an interesting twist: After the failed ritual, what if Lucien's s/o ran into Molly? Thank you!

Okay so this one came out quicker than I expected 😅. Little 'twist' at the end because I could not help myself. I hope you enjoy it! 😘

You warned him. You warned him so many times but he wouldn’t bloody listen. Too caught up in his own game for power, never satisfied. But what were you supposed to do? Stop him? No, you’d never. You loved him more than that but you were not prepared to follow him to his own death. Lucien, you idiot how could you? You tried everything but he didn’t come back. The ritual failed. You didn’t want to uphold your part of the bargain. You knew this mage had ulterior motives and after being granted a peak of those pages she wouldn’t back down.

The woman wanted it all for herself and Lucien stood between her and that power the Eyes of Nine had to offer. Knowing the Tombtakers would follow Lucien to the extremes they would also accept the risks of this ritual and would be content but disappointed should it fail. With what you had seen you knew it shouldn’t fail. You had warned Lucien of your suspicions but his own arrogance made him blind to the consequences of this all. He wouldn’t listen and you were becoming an obstacle so when the ritual was to go down you weren’t there.

Lucien has slipped away from your warm embrace in the dead of night to perform the ritual and of course Vess messed with it, assuring he wouldn’t be able to return to his body therefor as per the agreement, she’d take the book as payment. It was too late when you found him, already dead. No amount of healing or revivification could bring him back to you. You had to accept that but you could enact revenge on the bitch that took him away from you. You’ll have her wishing she was the one in a shallow grave instead.

The Tombtakers diverged, finding their own paths. Cree tried to take you with her but you wouldn’t. You had your own task to complete. After that you could rest. Making the arrangements, finding allies where you could, earning and cashing in favours from anyone of power or resources you could left you with quite the arsenal at your disposal but you couldn’t just walk into the capital of the Dwendalian Empire and murder one of the archmages of the Cerberus Assembly. You had to be patient, lay low and let everyone think you moved on.

Still you visited the grave whenever you could. There was a comfort in the hope that maybe, wherever he was he could hear you. Lucien would probably scold you for going on a revenge path against one of the most powerful magic users on the continent all by your lonesome. He’s one to talk. Nevermind, you told him about your adventures, and hoping to acquire the resources to attempt to bring him back. You won’t give up hope.

Then you returned, returned to find the grave empty. You followed the tracks but they lead you nowhere. You had to find him. You had to find Lucien before anyone else did because what might they do? What state would he be in? Does this mean he’s already ascended? Would this mean he’d truly fully become the Nonagon for once and for all? But most of all, you just want him back in your arms knowing he’d be safe. You’d scour Exandria to find him.

There you are standing in a dark alleyway, hood blocking direct view of your face as you’re quite literally in the middle of a back alley deal. You’re no stranger to the shady business and shady people can most often be found in these places. You pay your contact in exchange for the information your requested, satisfied with the results. You hear commotion on the main street. Guards. Parting from your contact you wait for the guards to pass. That’s when you notice a lavender tiefling bolt past you. A very familiar lavender tiefling.

Confusion, relief, heartache, panic, happiness, disappointment, a wave of emotion hits you in a way you’re not even sure how you’re supposed to feel at this point. Many questions accompany those feelings. What are you supposed to do? Well, go after him of course! If Lucien’s back and he’s being chased by guards, that’s not a good thing for the current situation. Sticking to the shadows you trail along. Lucien may just have lost his touch but perhaps the city is an unfamiliar one to him and alone, he doesn’t know the way. The tattoos are new, so are the rather colourful clothes but you know he never does anything without reason.

You figure out where he’s going, the direction at least and from your own past encounters here you know the side alleys. You take a path that should have you end up ahead of him. You’ll have to take a few rooftops and private yards but it’s the quickest and you’ve done it plenty of times. Once you get in place you take off your cloak, get ready. You hear the guards shouting for reinforcements. The closer he gets from around the corner you can see the smug grin filled with mischief as he runs. You’ve missed that one.

The moment comes and you grab onto him as he passes pulling him into the alley with you, wrapping your cloak around him and pulling the hood up. Hands on both sides of his face you look at him closely. There’s confusion in his eyes as they focus on you. He’s already out of breath but you pull him into a deep kiss. Lucien hits the wall behind him and readjusts the hood of the cloak to keep his face covered. The response to the kiss only comes with the sound of the guards drawing near and is very confused. The guards pass by. They glance into the alley but awkwardly turn back to following the street upon seeing the two of you together.

As soon as they’re gone Mollymauk breaks away from you. He’s breathing heavily more from the run than the kiss you shared. He’s very confused. Indifferent to being kissed by a stranger, this… unexpected to say the least. He’s got no idea who you are but you saved his ass so you’re alright in his books at the moment. That doesn’t mean he’s not wary of you. It doesn’t take a genius to figure out you know him, or well whoever he used to be and with the conflicting emotions running through you he’ll have to think fast to spin his bullshit correctly.

“You have no idea how happy I am you’re alive. Does this mean it worked after all? Did you succeed?” You run your thumbs over Lucien’s cheekbones as he holds onto your wrists lightly. The pressure in your chest grows heavier as you await his answer.

“It did. I did. It didn’t go as planned but I’m here now.” Molly works his charm like his life depends on it because he entertains the thought it might. Your touch, there’s something eerily familiar about it, akin to being reminded of a distant long forgotten dream. Hazy but it feels real. He still has no idea who you are and there’s no bells ringing either. While he much rather run far away avoiding any and all connections to a past not his, he cannot help but commend whoever came before him. The one that got buried definitely had a good taste in lovers? Friends? Molly’s not going to assume even though you kissed him quite passionately.

Your chest clenches and it feels as if your breath won’t leave your body, your blood stopping in your veins, like you got hit by an extra dimensional force attempting to pull everything away from you. You listen to Lucien’s words. It looks like him but why do you feel like you hear someone else? It’s not an illusion or some trick you’re sure. If it were your enemies would have known to pick a better imposter and you’d have been dead already. Your own mind fights against this train of thought, justifying it. Lucien had been dead for weeks until you found the empty grave. Of course there were bound to be side effects or even consequences to the ritual. But then again, it had been two years since then. Two years to recover from whatever happened…

“You don’t know me, do you?” Speaking the words out loud breaks your heart. You don’t fight the pain they cause. There’s no tears. You’ve already grieved Lucien once. You’re not doing it again. This will be nothing more than a painful reminder, a cruel joke from the gods behind the divine gate. Why must the fates torture you so for nothing more than loving an ambitious man reaching for the stars and beyond?

“No. I’m sorry.” Molly can’t help but feel your pain. It’s clear you cared a great amount about his predecessor, the way you speak reveals intense heartbreak at the passing of that one. It also shows acceptance that whoever he used to be is gone and you’ve come to terms with that a while ago. That’s enough for him to recognise you won’t hurt him. Molly had never felt sorry for the death of who he used to be and he won’t start now but he does feel sorry for you. This whole situation is messed up.

You close your eyes and nod, dropping your hands and take a step back. No matter how much your heart may tell you to be close to this tiefling, your mind knows it’s not Lucien. You cannot in good conscious hang onto whatever remains. It’s not fair you him, to Lucien but most of all not fair to yourself. Do you wish it was Lucien standing here in front of you? Of course you do. You’d do anything to get him back but what would directing all your pain achieve directed at this new person in the same body? It would accomplish nothing but more pain. You can’t imagine this tiefling in front of you doesn’t have any friends, loved ones, people who care about him. You weren’t going to put you don’t know how many others through the same pain you’ve been put through.

“I am as much of a ghost of the past to you as you are to me.” You’ve come to the conclusion that based of his responses there may not be any recognition, there is an unknown familiarity to you on his end. Perhaps the final slivers of Lucien remaining but nothing more than a fleeting memory. A hand reaches out for yours. You allow him to take your hand and he rubs circles in the back of it with his thumb in an attempt to bring you some comfort. It’s a gesture out of kindness. Not out of selfish intent or with the expectancy to get something out of it, like Lucien would when faced with a stranger he clearly had the upper hand over.

“You seem to have cared for my predecessor, Lucien, quite a lot. I truly am sorry.” You offer him a saddened smile as a silent thank you. He knows Lucien’s name so he must have learned something of the past. You gather it hasn’t been much and most definitely is second hand knowledge by his lack of information on the ritual, who he used to be, everything really.

“You know his name?” The sentence is voiced somewhere in between a question and a statement.

“A blood cleric named Cree. She ran into us-me and mistook me for him. I played along but I don’t think she really bought it. She didn’t reveal much.” The name of the tabaxi alone is enough to make your blood boil. If Cree had known for however long, why hadn’t she gotten in contact with you? You know exactly why and are debating wether or not you could do with a new fur rug. You also acknowledge that Cree is a risk and this new-not Lucien will have to watch his back.

“Since you’re not Lucien nor do you seem to be using that name, what do I call you?”

“Mollymauk Tealeaf or simply Molly to my friends.” The tiefling-Mollymauk smiles at you, a genuine smile. You have to appreciate the small gestures of comfort and kindness.

“I would give you my own name but for both of our sakes I won’t. You may refer to me as an old friend. I know I have no right to but may I ask you a favour?”

Mollymauk nods. As always he leaves a place better than he found it, tries to bring joy and happiness wherever he can even if that means making a fool of himself. Very few times has he been faced with someone who needs his help as much as you do. While there’s definitely limits to what he can provide, you deserve some compassion. Especially after the shitty cards life had dealt to you. He’ll try to ease that if he can.

“May I- May I ask you to tell me about your life, Mollymauk?” Not the request he expected. Then again, to be fair he didn’t really know what to expect. A kiss maybe? Stick along for a while? Perhaps even a final goodbye so you could close this chapter once and for all? But of all the things you asked about him. Not Lucien. Him.

“It’s a long story…” Molly drifts off reminiscing the wild ride of the past two years, especially the events of the last few months upon joining the Mighty Nein and the adventures they had already gone on; were currently on but if you really wanted to hear all about that, he’d tell you.

“I have plenty of time. How about we walk and talk? Get you back to your traveling companions? Your friends? And if there’s still plenty more to tell, if you want to you can tell me over a few drinks. My treat.” You feel within yourself you’d better be able to let go knowing this Mollymauk is happy and lives content. Lucien might be gone but Mollymauk deserves a good life free of Lucien’s burdens. You’ll do what you can to assure that.

“Never tell a story for free. That sounds like a good deal.” Molly offers you his arm and when you hesitate, expects you not to take it but to his surprise you do. There’s something strangely comforting about the whole ordeal. You’re both strangers to each other but it still feels like you have known each other for years.

On your way to where Mollymauk is staying he feels no need to hold back or deceive and instead tells you what happened to him; how he woke up, dug himself out of a grave and was found by a kind man, joined the circus, became a fortune teller, made friends along the way, found a family, many tales of the mischief he was up to, leaving every place better than he found it. You had some good laughs and were able to ask some questions throughout. All in all you came to the conclusion Mollymauk’s life hasn’t been an easy one but it was a good one and he was happy.

Then he found this group of strangers in a tavern somewhere in Trostenwald. His old family was torn away in the wreckage of a devil toad but he found a new one in these strangers. The Mighty Nein. Their time together has been but a few months but they already feel like family and he’d do anything for them. They might be assholes but they’re good people.

You got to meet them. Molly- as he keeps insisting because you are his friend now, introduced you to this Mighty Nein as he thought it best you heard some of these stories from their mouths too for the sake of perspective. He introduced you to them as such; an old friend from the past. The details were left blurry but Molly’s confidence was enough to leave them at the very least accepting and not mistrusting you. They shared their stories with you. They needed him. They may have come far from the assholes they were, but they still had a ways to go. You knew you could not tear that away from him nor did you feel right to join them, even if temporarily.

It’s time for you to say goodbye. You bid your farewell to the Mighty Nein and while they would ask you to stay just a little longer, you know you cannot. You will not insert yourself into their lives based on the merits of your own lies and life. They are free so let them be free. Molly walks you out so you may have one final conversation before you leave his world behind you.

“You don’t have to go yet. They enjoy your company and honestly, they could learn a thing or two from you.” Molly offers as you stand outside of the tavern, the sky since having grown dark and the stars out. The air is cool, winter is drawing near, before you know it the frost will stick to the ground and you’ll be back in Shadycreek plotting the demise of a certain Cerberus Assembly member. You’ll have to leave this all behind.

“You know I can’t. For all of our sakes.” You offer Molly a smile. You’re happy with what you got to see, the stories you were told but this is where it ends and that’s okay. Molly knows it too. Sometimes it’s better to let go than to hang on. You have your own life just as he has his.

“So I guess this is goodbye then.” Molly takes hold of both of your hands and squeezes lightly before he pulls you in for a hug. You return the embrace. Pulling apart enough to look him in the eyes you stroke his cheek, tracing the tattoos fanning up his neck and jaw.

“I am still but a ghost of the past. A ghost I will remain. I wish you a good life, Mollymauk Tealeaf. May we one day meet again.” You kiss his cheek and despite the appearance of Lucien, it doesn’t feel the same. Despite how it may sound, you’re happy it doesn’t. You step out of Molly’s arms.

“May we meet again.” The words Molly speaks are like a breath upon the wind as you walk backwards, one final look at the lavender tiefling as you blend into the darkness, fading like a ghost.

There may be many more things Molly would like to ask you. He’d like to get to know you and the thought that maybe one day he might, sounds like a good day in his mind. You have your own business to take care of first but maybe one day you will meet again. For now a ghost of the past he doesn’t recall you will remain…

——————

But a few months later you find your way back on the road to Shadycreek Run. There you found a grave marker along the Glory Run Road… The marker held a colourful ostentatious red coat embellished to the nines. It appears to have been left to the weather for some time but you recognise it. Hit with a sense of dread you approach the grave already knowing who it belongs to. The least you can do is pay your final respects to the friend you never got to know more.

You dismount your horse guiding it the reins closer to the marker. That’s definitely Molly’s coat. There’s no denying that now. You walk further up the hill offering a silent prayer to the Moonweaver who Molly admitted to being a follower of.

Approaching the grave you see it dug up. You expect grave robbers, thieves of some kind as you brush your fingers over the fabric of the coat. You get a glance of the grave and see it empty instead. Not robbed; empty. No body, nothing but the marker and the coat. Down the other side of the hill you see a figure, a lavender tiefling, tapestry draped around him watching the skies. The back is turned to you so the tiefling doesn’t see you. A wave of both relieve and dread washes over you as you are met with your own ghost of the past.

[lightrises]

"Only in allowing her to pass..." — Hornet, The Radiance, and the means by which Hallownest turned its victims against each other

A quick note: I read Hollow Knight as an anti-colonialist text. As such I'll be touching on topics related to colonialism as it's depicted in the world of the game, and said analysis will reflect both a sympathetic take on The Radiance and a critique of The Pale King that won't pull its punches. If this sounds up your alley, hello and thank you for the read! Let us be sad about these bugs together.

———

So!! A while back I realized something about pre-canon that felt rather... "curious" is one way to put it, I think. To wit: for all the effort and scheming and determination The Pale King poured into trying to get rid of The Radiance, neither of his plans involved directly killing her.

Was that his long game? Well, sure, that seems clear enough. His tack changed from luring the moths away from their god and creator to a more literal form of incarceration once the infection became a factor, but at its core the end goal never really changed—The Pale King very sincerely wished to destroy Radiance via obsolescence. The Seer lends us foreshadowing to confirm as much:

[Image descriptions: Two screenshots from Hollow Knight, showing the Seer and Ghost in the Seer's alcove at the Resting Grounds. Across both screenshots, the Seer tells Ghost the following: "None of us can live forever, and so we ask those who survive to remember us. Hold something in your mind and it lives on with you, but forget it and you seal it away forever. That is the only death that matters." End description.]

(Which, by the way and given the context, talk about an extremely unsubtle allusion to cultural genocide huh!!! Whew.)

In any case, we're left with a whole bunch of machinations which build up to... well, two very roundabout attempts at committing deicide. That's kind of weird, all things considered! Why not just do the deed in one fell swoop and get it over with?

This could be for any number of reasons. Maybe the king was devoid of the means to instantly kill another higher being. Maybe his personal sense of scruples stopped him short of signing off on MURDER murder (although, y'know, the aforementioned genocide + eternal imprisonment = still cool and copasectic apparently!). Maybe the long drawn-out cruelty was the point. Maybe the idea of playing fuckign 4D chess with the circumstances was too delicious for him to pass up—that man did love to tinker and stick his claws where they sure as hell didn't belong—or maybe it was a little bit of All The Things. Who knows!!

But interrogating The Pale King's methodology on this count isn't what I'm here for, at least not really. The main reason I raise this question at all is that in her own way, Hornet did too.

"I'd urge you to take that harder path... "

See, going by The Pale King's actions and what The White Lady explicitly says, they both foresaw two outcomes wrt the infection: it can be allowed to spread, or it can be contained. At Teacher's Archives, Quirrel acknowledges the fact that Ghost is expected to do... something about this, but he doesn't elaborate on what HE thinks that's supposed to be apart from the obvious "Gotta bust into Black Egg Temple first". Hornet is the one person who presents to us—to Ghost—what's framed as a third option: confront and destroy the infection at its source.

And she doesn't bring it up like it's just another tactic for Ghost to consider, prim and indifferent to what they would do. She nudges them towards it, actively, up to the point where she throws herself into the fray against Hollow at a juncture that's uniquely dangerous to her and her alone just to make that option feasible.

Even when she's couching it in disclaimers that this is still Ghost's decision to make (and let's be fair, she's extremely not wrong about that lol), no one can pretend Hornet is unbiased. It's obvious in that buttoned-down Hornet kind of way that she is way the hell done with the increasingly tenuous stalemate that's kept Hallownest's desiccated corpse from collapsing in on itself. Personally it's hard for me not to read some Toriel Undertale-esque "My father was too entrenched in his own foolishness to pursue any course of action that would have DEFINITIVELY ended this" shade into her stance here, regardless of whether that's strictly true in canon.

And that bit—Hornet's hopes for an end to Hallownest's stasis, moreover her grim calculation of what needs to be done to get there—that's the bit I find super interesting but likewise tragic and depressing as shit, on multiple levels. In no small part because a) canon itself gestures towards Hornet feeling conflicted about the very plan she's pushing, and moreover b) she has at least two (2) damn good reasons to feel that way.

So, what do I mean by that? Let's look here first:

[Image description: A screenshot from Hollow Knight, of Hornet and Ghost inside the Temple of the Black Egg, standing in front of the unsealed egg itself. Hornet has been struck by the Dream Nail and her dialogue is displayed as follows: "... Could it achieve that impossible thing? Should it?" End description.]

As the curtain is about to drop on things one way or another, Hornet thinks,

... Could it achieve that impossible thing? Should it?

Now, looking at that last bit it's easy to go "Oh no, Hornet's worried that Ghost won't survive killing The Radiance!" And I do think that's part of it: Hornet is, categorically, not her father. By endgame it's clear she's not content to view her Void-borne siblings as tools to be used then disposed of. She's also well aware that as a healthy autonomous Vessel amongst the countless dead, Ghost is the only person left alive who has a fighting chance against The Radiance. Knowing someone is the only qualified candidate for the job doesn't make encouraging them to embrace a probable death sentence any less of a bitter pill to swallow, though. And odds are on that this sentiment extends to Hollow too, who IS going to die no matter what happens here. To put it bluntly, it's more than reasonable to conclude that Hornet hates the absolute fuck out of this.

But I don't think that's all there is to it either. Remember what I said earlier about The Pale King's bids for genocide? Well, it's not like the man deigned to limit his efforts to just the moth tribe.

"We do not choose our mothers... "

On top of everything else—an infected Hallownest being all she's ever known, the fact that she only exists because of the infection, the list goes on—Hornet has spent her life wedged into a position that's been uncomfortable and terminally unglamorous at best: she is both a daughter of her father's kingdom and of Deepnest.

Deepnest, which like the moths and many others was here long before the wyrm and his lady wife swanned onto the scene and the God Become Bug laid claim to everything the Light touched plus a considerable amount of change. THAT Deepnest, which has fought claw and thread to retain its sovereignty against same-said settler king, and for which Herrah not only surrendered her life but also agreed to bed her worst enemy, all in hopes of securing a viable future for her people (put a pin in that last part by the way, I'll come back to it soon).

Two Worlds, One Family (Ft. An Indigenous Woman Trying Her Damndest To Work With What She's Got Versus An Imperialist Who Only Signed Up For This Because He Needed The Political Favor THAT Badly, So It's The Height Of Dysfunctional Actually). Fun times!!!!

The baggage this entails for Hornet is gnarly enough without implications made by The White Lady and the pre-canon timeline of events and even Team Cherry's dev notes that the king may well have looked at baby Hornet, gone "YOINK", then ensured she spent the lion's share of her childhood reared within the pearly auspices of his Pale Court*. That would be rather advantageous for Him Specifically after all, the potential to mold a born foe into a future ally and even have her trained in combat under the same tutelage as her doomed sibling. And far be it from him to stop a grown Hornet—his own flesh and blood too!—from making Deepnest her forever home if she so pleased. He totally wouldn't be reneging on his "fair bargain made" by doing this one simple thing until Hornet came of age, not t e c h nic c a l l y.

If that is indeed the case, there's a non-zero chance Hornet's formative years were a hot mess of cultural alienation and being a good deal more privy than most to just how much of a bastard her father could be. There's an equally non-zero chance that at some point she stood or sat within earshot as The Pale King finally, finally dropped all pretense and euphemism to name the Light for precisely what (for who) it was.

See, in conjunction with the question that started this whole dang train of thought I've been asking this one too: Does Hornet know? When she speaks of confronting "the heart of [the] infection" does she know she's talking about not just a literal person but someone very specific? The Radiance, who god though she may be shares skin in the game alongside Hornet as a native woman screwed over by the same settler king, likewise deprived of her kin and saddled with a life gone horrendously pear-shaped?

I'll assume for the sake of exploring the possibility and because I think it's a likely one anyway that yes, Hornet does know. She knows, and despite everything can't help empathizing. She might even look at Radiance and see bits and pieces both reflected and slightly inversed in her own mother: Radiance was forced to the sidelines while her people—her children, the brood she was meant to lead and care for—died out under The Pale King's rule, and it's no stretch to assume she's at least as upset about that as she has been about everything else; Herrah too took drastic measures for her people's sake, trying to head off annihilation by relegating herself to the sidelines in an act that was as much calculated risk as an attempt to find wiggle room and leverage in the face of a nasty proposition.

A calculated risk that, if things continue as they are, might well amount to nothing as the rest of Deepnest gets eaten alive by the infection. It survived The Pale King's advances for so so long, only to fall here. Herrah's sacrifice would be for naught; the other tribes—themselves the king's victims—would keep succumbing to the infection too.

And this is where things fall apart.

"... or the circumstance into which we are born."

Let's be clear: I think Hornet is wise enough to know what's what here, that all the carnage and suffering falls on her father's head for starting this slow-motion trainwreck in the first place. Hallownest wasn't always Hallownest. This domain was Radiance's home first, along with many others. It was the worm-turned-king who rolled up on the scene unsolicited and decided this was a ""'problem""" that had to be """solved""".

But the fact of the matter is that he's gone and The Radiance is here, raging, seemingly inconsolable. Above and beyond being Deepnest's rightful heir, Hornet isn't in a position to countenance more splash damage even if the grief and fury fueling it makes perfect sense. She can understand without ever bringing herself to love Radiance, and she can bend her knee to practicality even if she hates the everloving shit out of it because the fact that it "has" to end this way isn't fair.

This lends itself to one last awful conclusion: that Hornet has probably considered and (rightly or wrongly) discarded the possibility that Radiance can be saved, at least not without dragging more collateral along for the ride. If even her mother and every other enemy to the king seemed to dismiss talking Radiance down as an option way back when... well. Why should Hornet hope for any better after things have escalated so far?

Again, it's practical. A practical net good is what Hornet strives for. And again, it fucking sucks.

For extra tragedy points, this makes Hornet's extended crypticness around Ghost followed by her last minute casting about for a reason to tell them "Wait, don't; not just yet" that she never voices even more of a gut punch. She can't bring herself to burden Ghost with the context that haunts her so, least of all when it might weaken their resolve to go through with what (she thinks) needs doing.

It's the "same song, different verse" which led to the mantis tribe and Deepnest being pitted against each other: Hallownest rigged the game so that two women who could have been powerful allies—who have a mutual vested interest in driving out settler rule—wound up poised as enemies instead. And how awful is that? The king for all his being extremely fucking dead still gets the last laugh, because outside of a miracle the game never manifests Hornet can salvage what her mother started and look forward to a future where Deepnest pulls itself back from the brink if and only if The Radiance dies.

Resolution comes at the price of a completed genocide. Add two more dead siblings to the unconscionable pile thereof, while we're at it. That's what it boils down to whether or not Hornet can bear to articulate it as such, and there's no grace or even a properly bittersweet ending to wring from this clusterfuck. And that is rough.

———

* This has been better explained elsewhere, but a quick rundown: The White Lady tells Ghost that Hornet and Herrah "were permitted little time together." On its surface this can be taken to mean that Hornet was still very young when Herrah was shipped off to Eternal Dreamland—except this doesn't jive with the fact that we meet Hornet as an adult. If the stasis kicked in once the Dreamers went to their rest, which in turn halted the aging process for every living bug in Hallownest, AND before all this Hornet experienced little by the way of quality time with her birth mother... I think you can see where I'm going with this.

To top it off we've got Team Cherry weighing in ominously from their dev notes on Herrah: "As part of the agreement for her alliance and her role as a dreamer, King gave her a child (Hornet). Was she allowed to keep this child or was she taken away?" This isn't confirmation by itself of course, but given additional canon details (see above): Can I get a "yikes" in the chat fellas.

[itsclydebitches]

I am sincerely so confused as to why the Gods are not portrayed as the absolute hypocritical monsters they are? Light God punishes Salem for wanting Ozma back, yet bring him back anyway to unite humanity - which is exactly what Salem did, she just united humanity against them. And what's worse is that we know the Light God is coded as good because his power is the same as our main protagonist.

While I absolutely agree that the Gods'... well, everything should be acknowledged by the show, I think the current problem is that they're not portrayed as anything at all post-"The Lost Fable." It's not really a case of the show providing a depiction of the Gods I'm not inclined to agree with given what we saw in the flashback, there is no depiction, period. They don't exist as something that's driving the story right now which, at this point, amounts to near three whole volumes of lost content. The only time I can recall them coming up is during Maria's talk with Ruby, which is really just re-stating facts to lead Ruby to her epiphany: one Brother created the grimm, the other Brother destroyed the grimm, he did so with a magical light... and then Ruby has her aha! moment — "The God of Light... His eyes! Okay, where do we start?" Has the group mentioned them at all outside of this? Have they mentioned the vision? Nora brings up the possibility that someone other than Ozpin could defeat Salem, but that's it (and that was less a discussion and more a theory spoken half to herself that an angry Ren ignored). The characters, along with the audience, were given 20 minutes of non-stop backstory and none of it has had a single bit of impact on the group, outside of breaking their relationship with Ozpin, that is. It has provided no new insight into how to fight this war. No reflection on their lives or deaths. Not even a change in regards to whether they'll fight at all because despite the dejected atmosphere post-vision, no one actually grappled with walking away. The closest they got was at the farm and that negativity was, canonically, due to the Apathy, not any knowledge outside of the Salem immortality secret. That vision was treated like filler, despite nothing in those 20 minutes being insignificant. Where's Weiss' sympathy for Ozpin as a family abuse survivor? Where's Blake's horror at the Gods' oppression and genocide? Where's Jaune's hope at seeing Pyrrha again in some afterlife? Where's Ren's fear that they're fighting a hopeless battle? Even when he does express some of those views in Volume 8, none of it is explicitly connected to the supernatural movie they watched. He's concerned with Jaune's transcript from Volume 1, not the revelation that bringing these Relics together will summon beings who wiped out the first version of humanity. There's not even an acknowledgement that the Gods' choices are what led to Salem's creation, the current antagonist they're concerned with. (When they're not, of course, concerned with Ironwood instead — which just highlights the issue here.) It's not that RWBY is taking clearly horrible entities and trying to pass them off as good guys... it's that RWBY isn't engaging with those entities at all. The Gods showed up for one episode, Maria referenced them for a pep talk, and they've had no impact on the story since.

As for the God of Light yeah, that coding is there, but in another series I would expect that to be the point. Meaning, you set up this binary view of the world for your protagonists — there are Good Guys, there are Bad Guys, and we know who is who because one is all scary black and summons grimm whereas the other is pretty white and bestows gifts! — only to slowly, over the course of the series, have them realize that real life doesn't work that way. That this binary doesn't exist. That Ruby's eyes are important because of how she chooses to use them, not because a being of seeming benevolence gave them to her. Problem is, that revelation should have started in Volume 6, with the characters realizing that Ozpin really is cursed and the nice looking God isn't actually any better than his brother. Now what do they do? Is Ruby comfortable using that power? Are they out to try and lift Ozpin's curse the way Light intended? Are the Gods their new enemies? A tool they'll use to stop Salem? Someone they're willing to forgive? There's the foundation here for a story about heroes not just getting the shock that Gods created them and their enemy, but that they're not necessarily a good thing to embrace either. They thought they were fighting a war where a Purely Evil Creature was attacking humanity. Now they realize it's a war where Salem was, in part, driven to this by creators who abandoned them and might, if the fancy strikes them, enslave or eradicate humanity 2.0 if they ever return. Well shit. How do we tackle that war? But, of course, that kind of story would require them thinking about, discussing, and planning around the Gods. Not ignoring their existence for three seasons.

Given RWBY's anime inspirations and the common theme of, "This being appears benevolent and I fight on their behalf but whoops they're actually awful haha now what?" in other stories, I don't think aligning Ruby's power with the God of Light is intrinsically a bad thing. It is, in fact, good setup for a later conflict. Problem is, absolutely nothing came of that revelation and now it's far too late. After focusing on Ozpin's secret instead, spending an undetermined amount of time doing basic Huntsmen stuff in Atlas, and now being fully immersed in a battle with Salem, having them suddenly go, "Oh yeah. There are Gods. What do we think about that?" is going to be... well, not great. Even if this island is precisely the God world that most fans expect, the group will only be tackling their existence because the plot is forcing them to, literally by "killing" them and trapping them so there's nothing else for them to focus on. The fandom has discussed at length the problem with making the cast almost purely reactive and this is just one more example. We established across Volumes 6-8 that they didn't actively care about the Gods. At all. Not what happened in the past, not what they might do in the future, not how they might impact this war. They were dismissed along with the rest of the vision, taking with it any opportunity to explore that revelation, or try to (mistakenly imo) paint the Gods as better than they were. It's just a non-starter atm. Trying to tackle that story now might still lead to some interesting ideas, but it can't patch the three Volume hole where that story should have started.

[phis-corner]

statue of ice

yes i am still updating this fic lmao

main masterlist ◈ maribat masterlist ◈ ao3 link

She only lasts a few weeks before caving and telling her brother that she’s Ladybug.

The Guardian – Fu is his name – was vehemently against revealing her identity again, already annoyed that she’d told Jason. Privately, Marinette thinks that Fu can “go fuck himself”, and maybe Jason would have said it out loud, but she does not.

Instead, she ignores his wishes and tells Tim anyway.

To his credit, her brother isn’t even surprised. He just quirks a smile during their scheduled video call and says in a light voice, “I guess it runs in the family, then, doesn’t it?”

Marinette is inclined to agree. After all, what are the odds that both of them ended up being protectors of two cities?

.o0o.

A week later, Tim calls her to confirm Marinette’s suspicions that Gabriel Agreste is Hawkmoth.

“He’s slippery. Paid to have all the security cameras around his home removed, but I traced akuma sightings on social media and marked them on a map and what do you know, his house was right in the center of the circle. I also checked out the property. He literally has a butterfly window, Mari. Everything in his house is butterfly patterned. It checks out.”

“Thank you, Tim-Tam. I’ll take care of it from here,” Marinette says. Her mind is already working, forming a plan to take Gabriel down. Permanently.

It has to be public. The city wouldn’t believe it otherwise, and some are already accusing Ladybug and Chat Noir of creating the akumas themselves so that they can make themselves look good by defeating them.

Exposing Gabriel as Hawkmoth would cause the downfall of his company and result in the loss of thousands of jobs, but Audrey Bourgeois had a Parisian branch of Style Queen that was still fairly new and looking for employees, and she knows that Audrey would most likely hire all of Gabriel’s employees out of spite.

“Are you sure you don’t want us to help?” her brother asks. “You don’t have to do this alone, you know.”

She knows. She wants so, so badly not to do it alone, to have her brother by her side as she faces down a magic user that could turn her into a puppet in the blink of an eye if she allowed herself to feel just a little bit too much, but she can’t bring him into this. Can’t bring anyone else into this. Tim already spends his nights stopping rapists and murderers and seeing all the horrors that Gotham has to offer. He doesn’t need to see what Paris throws at its people as well.

“It’s a miraculous matter, Tim-Tam,” Marinette says instead of voicing any of those thoughts. “Besides, bringing anyone else in puts them at risk of akumatization. It’s best to keep as few people involved as possible.”

“Okay then,” Tim responds, not fully managing to hide the disappointment and apprehension in his voice. “Good luck, Mari.”

The corners of her lips twitch upwards in a tiny smile. “I am the living embodiment of good luck, Tim-Tam. It will be alright.”

.o0o.

It is easy to poke and prod at Gabriel’s ego until he thoughtlessly lunges, crashing through his own window onto the street below when she dances out of his way.

Ladybug follows, dropping and rolling with a familiarity that comes from being forced to do that same motion countless times, and she toys with him, dodging, ducking, but never really attacking, until the news helicopters start circling overhead.

Chat Noir arrives just as she sweeps Gabriel’s legs out from underneath him, and he doesn’t quite manage to stifle his gasp of horror, all irritation at Ladybug for taking Hawkmoth down without him forgotten when he sees who is underneath the mask.

Ladybug may find Chat Noir (Adrien Agreste, she reminds herself,) a nuisance at best, but she is not heartless. She knows what it’s like, to want to believe that one’s parents are good people. She knows what it’s like when that illusion one tries so hard to maintain finally shatters, and it’s something that nobody deserves to experience.

Chat’s face hardens as Ladybug starts murmuring words in an ancient tongue underneath her breath, casting a spell on his father, who gave up the fight as soon as the butterfly was removed from his hands, to ensure that Gabriel will never be able to touch another miraculous again. He won’t be able to exist within three feet of one.

It’s a good thing she chooses that spell too, because it protects Gabriel from his son’s wrath.

As the authorities are cuffing his hands behind his back, something cold settles in Chat Noir’s eyes as he calls up a Cataclysm and lunges at his father, the clawed hand rippling with dark magic outstretched, ready to disintegrate a living, breathing human being.

Gabriel is yanked backward by an invisible force, pulled out of harm’s way, and Chat’s Cataclysm lands on a chunk of debris instead. The Black Cat is held back by his partner before he can try something else.

“Chat,” Ladybug hisses, as he struggles in her hold, still trying to go after his father, who is being put away into a police car. “It’s done. It’s over. He won’t hurt anyone ever again, and the justice system will deal with it.”

Chat Noir slowly starts to resist less and less at her words, and she takes that as a cue to continue. “It feels anticlimactic, and I know you want to do more. You think we should do more than just let them take him away, because you’ve been fighting on the front lines of this battle since the beginning. But our part is over. Our duty has been fulfilled. He won’t be acquitted, if that’s any consolation. There are mountains of evidence against him.”

Her partner turns around, suddenly, and buries his face into her shoulder as his body jerks with what she realizes are sobs. He’s crying,Ladybug realizes. He’s crying for his father. For who he thought his father was.

When was the last time she cried for one of her parents?

Ladybug reaches a hand up and awkwardly pats Chat Noir on the back for a moment before she spots the reporters.

“Let’s take this to our usual meeting spot,” she whispers to her partner, and he nods, composing himself in an instant. Janet would have liked Adrien, she thinks. Gabriel’s parenting style was evidently similar to how Marinette had grown up.

Five minutes later, they’re standing on the Eiffel Tower, overlooking the city they’d sacrificed so much to protect.

“This is it, isn’t it?” Chat Noir asks, turning to her. “This is the end? There’s no use for us anymore.”

Ladybug inhales slowly, taking in the view from above one last time and committing it to memory. Not that she needs to – her eidetic memory ensures that she’ll never forget. It’s for the sentiment, she supposes.

“Yes,” she murmurs. “We have to give them back now. Say goodbye to our kwamis.” She’ll miss Tikki’s company, she thinks, but not as much as she misses Jason’s. The kwami was sweet, yes, but she didn’t understand Marinette’s need to do something other than being Ladybug.

“Where do we even return them to?” Chat questions, and then she remembers that he’d never been told of the Guardian’s existence.

Ladybug unhooks her yoyo from her side, tossing it up and down one last time as she prepares to swing. “Follow me,” she says, and then she throws the yoyo and leaps off the side of the Tower.

.o0o.

Fu’s massage parlor is just as inconspicuous as ever, and somehow, no one is walking along the street when Ladybug and Chat Noir enter.

The Guardian has been expecting them – there are three cups of tea sitting on the table in front of him.

“Ladybug, Chat Noir, please sit,” he says in his wheezy voice. They oblige, but the tea remains untouched on the table.

“Chat Noir, it is time to return your miraculous,” Fu states, and the two of them stiffen, immediately picking out what’s wrong with that sentence.

“Why am I not included?” Ladybug inquires, her polite tone holding an undercurrent of danger. “There cannot be a Ladybug without a Black Cat.”

“Well, you see, you won’t be using the Ladybug,” the Guardian explains with a slightly condescending look on his face. “But there can only be one Guardian, and I’ve chosen you to be my successor.”

The sound of Ladybug’s palms slamming on the table makes the other two people in the room jump. “Absolutely not,” she declares as she stands up. “I did not agree to become the Guardian. This has never been discussed.”

Fu looks up at her with confused eyes. “But you became a candidate when you agreed to put on the earrings, and Chat Noir is simply not fit for the job.” Out of the corner of her eye, she sees Chat Noir wince, but he does not disagree.

“I put on the earrings because people were dying,” Ladybug growls. “Because this city needed something, someone, to look up to, and there was no other viable option. The Guardian is never in the light. They spend the rest of their extended lives hiding in the shadows to protect a box of magical jewelry. The Guardian is not a symbol of hope, because nobody knows the Guardian exists. I put on the earrings to be a symbol of hope, not because I wanted to, but because people needed one. The people don’t need one anymore, and I don’t want to continue doing this.”

“I was fighting a war, Fu,” she spits, furious words laced with venom. “I was fighting a war with one ally by my side and we were both children. Now that the war is over, I am no longer needed, so I am leaving. I want the shreds of innocence I had before this war back, but that is not possible, so I can at least try to move on from this instead. Let me move on.”

Without warning, she reaches up and carefully takes the earrings out of her ears. She would have loved to rip them off in one swift movement, but earrings were not that type of jewelry. The Ladybug suit disappears in a flash of pink, and then she is Marinette again, standing in a massage parlor with a pair of red-and-black earrings in her hand and two sets of wide eyes fixed on her.

“Marinette,” Chat Noir breathes. “Oh my god, I… I’m so sorry.”

Marinette drops the earrings on the table in front of them. “Are you sorry for being an ass, or just sorry because the person you convinced yourself you were in love with was an illusion?” she asks, not looking at anyone or anything in particular as she pivots on her heel and strides for the exit.

When she reaches the doorway, however, she pauses, eyes still fixed straight ahead of her. “Oh, and Adrien?” she calls, eliciting two identical noises of surprise. “For what it’s worth, I’m sorry too. About your father, of course.”

Then she opens the door and walks through, never once looking back as she sees the city that once weighed so heavily on her shoulders from the ground looking up, instead of from above, gazing down.

.o0o.

She’d spent some time wondering how she was going to adjust to life in Paris after that, knowing what she knew about Adrien and Gabriel and what Adrien knew about her.

As it turns out, she only has to go through one week of feeling Adrien’s green eyes on her at every available moment in class and going out of her way to avoid him, because her mother dies.

It’s surprisingly anticlimactic.

Janet Drake was always such a formidable woman. Her mere presence in a room could make grown men cower. To Marinette, she seemed almost invincible – always superior to everyone else, untouchable as she lashed out with quick with and a sharp tongue and long nails digging into her children’s shoulders. If there were ever any cracks in Janet’s façade, if it even wasa façade, she’d never seen one.

And yet, in the end, it turned out that she wasn’t untouchable after all. She’d died because she drank poisoned water out of desperation, even as Batman was right there. Batman had arrived to save them, he had freed them from their bonds, and the first thing they did was drink water poisoned with nerve toxin. Jack had survived, though he was in a coma and paralyzed.

Janet did not.

And that was it. That was the end of a woman that had dominated Marinette’s life for so long, a woman whose voice still hissed and lingered in her mind, reminding her to sit still and be silent and never, ever let your emotions show on your face.

Tim – he’d never had that mindset thrust upon him as forcefully as she did. After all, Tim had a father that didn’t despise him for his gender. Jack took charge of molding the son, and so Tim is crying, when he tells her all of this. He thinks he’s being subtle, but she’s his sister. She knows better.

Marinette didn’t care for her mother much, but she supposes she could give the dead at least some modicum of respect.

So as she packs her bags and books the next available flight to Gotham City, Marinette honors her mother’s wishes and does not shed a single tear for Janet Lynn Drake.

statue of ice

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[fireemblems24]

Post Grondor Field AM Analysis

I'm prefacing this by saying that I'm still not sure I can write a good analysis of this scene for two reasons:

1. I don't know what comes after, and

2. I'm very emotionally involved in what happened.

But I tried my best. One thing is for sure though, what happened in Grondor in AM was an incredibly significant turning point for AM and Dimitri and my thoughts and analysis on it will definitely expand as I keep writing about and playing the game.

Part of me is just so happy I got to see Dimitri's supports, have the inevitable turn around, and get to do things like tea and dinner time again that it's hard to be objective about this scene.

And by "this scene," I don't mean that actual fight at Grondor, but everything from Fleche's attack to Byleth's words in the rain later.

It wasn't all about Byleth . . .

Given how poignant Dimitri's character arc has been so far, I had a deep rooted fear player-pandering would ruin it. Byleth, as a concept, isn't bad, but too often the heaps of praise feel underserved and other things (like Claude's intelligence, Edelgard's relationships with everyone else) get ignored to make more room for player-pandering.

Thankfully this did not happen. Byleth, throughout the early chapters of AM's part 2, failed to reach Dimitri. And, honestly, seeing Byleth actually struggle for once has done wonders for how I view her character. Still, I worried that player-pandering-power, rather than something that felt earned, would cause the inevitable eye-opener for Dimitri.

But it wasn't just Byleth. Fleche's vengeance kicked everything off, what veered Dimitri away from his fate in other routes. He accepted his death at her hands, not bothering to defend himself. Rodrigue stepping in the way and his parting words forced Dimitri to confront things he'd ignored. Throughout AM so far, people have posed questions to Dimitri who refused to answer them because he didn't want to face what they asked. But Rodrigue dying for him, spending his final words telling Dimitri to live for himself - combined with Fleche's attack - forced Dimitri to confront things he avoided. It wasn't until after all of that when Byleth steps in.

And Byleth didn't "fix" him either. Dimitri's supports show a young man who's still very much struggling with his mental health, poor self-image, his previous actions, and wondering if he deserves not only to live for himself - but if he even deserves to live. Byleth didn't hand-wave Dimitri's problems away.

Everything about the scene is stronger because it didn't fall back on player-pandering, but more earned, realistic, and dramatic actions and consequences - including Byleth's involvement which felt far more earned than usual because of prior failure.

But I wish Dimitri's friends played a bigger role.

Not everything was perfect though. I wish we got a little more than we did from Dimitri's house mates - especially his childhood friends Sylvain, Ingrid, and extra special mention to Felix and especially, especially Dedue.

Throughout all of AM, none of the above mentioned characters feel utilized to their full potential. This isn't a problem exclusive to AM, and by all means it's far from the biggest offender, but given how close all the ties are in AM, it's felt when it's not there.

I still don't know what exactly I would've done with them. Maybe I'd need to make the game an actual novel to do it, and you can't forget how perma-death has historically held back games at times, limiting major moments to a select few "retreat" candidates.

Still, though, getting a bit more from Ingrid, Sylvain, Felix, and Dedue would've made the scene even more powerful.

I actually really liked the scene in the rain.

I haven't made it a secret that I dislike Byleth. Or maybe disliked is more accurate. Lately I've been rethinking my stance on Byleth, in part because I've heard from people who like her or found ways to make her work and from my own thinking about the game while planning future write ups.

I don't think it's Byleth I really dislike, but the player-pandering. Separating the two isn't easy, but it's easier since I've starting coming around to seeing Byleth as her own character.

There's been a few moments that made me care for Byleth, and this scene in the rain was one of them. Because she didn't just fix everything. She tried and failed for months to reason with Dimitri, and despite everything she never gave up on him or failed to keep offering her hand.

I'm not going to lie. I got all the bubbly, heartwarming, heartbreaking feels the writers wanted me to in this scene. Seeing Byleth reach for something and fail, and then finally, finally get through was rewarding in a way many of Byleth's prior accomplishments aren't because this one felt earned. And by God did she earn it.

Some people will likely disagree with that last point, but I disagree with them. She asked Dimitri hard-hitting questions, forcing him to come to unpleasant conclusions rather than trying to force him into anything. She kept Dimitri from veering to far off course, even at expense to herself when she killed Randolph. She saved Dimitri from Fleche when he refused to save himself. She quietly supported him, coaxing out the good she knew was still there and refused to give up on.

I'd never in a million years say someone in real life should put up with Dimitri's toxic behavior and verbal abuse, even considering his extreme trauma and aggravated mental illness. But seeing someone fuck up so badly still get forgiven, still get supported, still struggle but honestly change for the good, still get loved, start to accept and forgive himself through the power of love and forgiveness from others is very powerful, especially since media so often downplays those "softer" things as weakness in comparison to the "badassery" of ambition and stoicism. Using Byleth, who previously had little experience with feelings, who was encouraged to experience them in healthy ways by Dimitri, return the favor isn't really the worst choice.

It's cliche, but cliches aren't always bad.

The mentor dies. Redemption in the rain. Revenge against the protagonist's actions opens their eyes. Etc . . . This scene was chuck full of cliches, but that's not necessarily a bad thing.

Tropes serve an important narrative purpose because a writer can rely on them to convey a message to the audience that either saves time or sets them up for something unexpected or even expected. Fire Emblem has always and will always be incredibly cliche and full of tropes. It loves tropes so much there's in-universe ones that make some unit or character discussions sound like a foreign language to people outside of or new to the fandom, talking about "Ests" and calling someone a "Camus."

What matters is if a story pulled something off well, not if it's terribly unique. A mentor dying is powerful because it forces the student to grow. Redemption in the rain is high symbolic of water washing things away + the somber atmosphere rain creates. Someone trying to get revenge against a character provides an eye-opening experience about the ripple effect of their actions. We see these things in fiction all the time because they work.

All the tropes worked like expected in this scene. Using images instead of cut scenes did make less of an impact, but more on that later.

Tl;dr: There's nothing unexpected or terribly unique about what happened. It was honestly painfully predictable, but that doesn't make it bad and is in a series that does this all of the time.

The voice acting carried because those images can't.

A major downside to this scene is that it used vague images instead of a cut scene. I get that budget and time were likely concerns, but many cut scenes from earlier in the game seem rather trivial. Did we really need that dance one? Really? I don't think so.

This was a hugely important, action heavy moment. Using one or two still images to convey everything that's happening and all those emotions, really makes it less than it could've been.

That said, the voice acting saves it. I've raved about how amazing Chris Hackeny is as Dimitri, so nothing new here. Rodrigue's and Fleche's VAs also did a fantastic job. No one oversold or undersold the emotions. Even without the cut scene, you felt what happened thanks to the skill of the actors. This scene would've been so much harder to engage with without them, if this was an older FE game where all you got was text. This is 100% one of the moments highly elevated by the decision to have a fully voiced game and choosing high caliber talent (let's not talk about Radiant Dawn's voice acting).

Questionable support timing.

One issue I had came right after the scene when I viewed Dimitri's supports. The nature of some - like his with Raphael and Alois - didn't quite line up with the character I saw in dialogue right after. I wish they staggered them a bit more or got picker about what you could get in part 1 or 2.

This isn't limited to Dimitri either. In the same support batch, I also got a Marianne B support where she still had no confidence or self-worth. And then like 10 minutes later I talk to her in the monastery and she mentions about how seeing all the death in Grondor made her value her life even more.

In the past, I've also received entirely valid opinions that Dorothea in part 2 is hard to understand because she's cherry and flirty in her supports, and morose and hates the war in her monastery stuff, making her seem inconsistent.

It's a bit jarring. It's not really an issue for characters who don't change much like Edelgard or Raphael, but even for characters with more subtle differences than Dimitri, Marianne, and Dorothea - like, say, Lorenz - you get a lot of weird stuff because of supports. I just think Dimitri's stands out because he's a main character with a really prominent, important turning point for his growth.

[jq37]

The Report Card – Fantasy High: The Seven Ep 3

Let’s Split Up and Look for Clues! 

Welcome back to the Seven and the Museum of Adventuring. My previous pronouncement of combat was a little premature but hold tight, we’ll get there. For now, we’re back with Antiope who just saw a glimpse of the Ending of Things (aka, Ending) and is freaking out a bit. She tells the others and they all do various checks to see what they can find out.

Ostentatia casts Commune With City and clocks that there is some kind of abjuration shield magic on the government buildings in town, stopping them from being spied on. She also clocks some lingering undead-ish magic and a weird divination effect on Antiope, specifically on the Aguefort logo of her jacket, like someone scryed on her and just got that she had something to do with Aguefort. At this, Penny reminds her that the only true piece of info they gave Ending when they broke her out is that they were from Aguefort.

Sam with a 19 Insight still feels the connection she and Ant have with Ending because of their spells turned against them in the initial encounter. Yelle does a Perception check (27) and once again doesn’t really get bad, dreadful, menacing vibes. But also, she recognizes that she’s chill with a lot of things most people don’t love. 

Antiope reiterates that she texted Charity that she’s interested in the internship so she can learn more info--even better now that they know the buildings are safe from scrying. Yelle remembers Aguefort’s warning about people watching them and Sam asks Zelda if her “weird boyfriend” (“he’s actually really cool”) is friends with the elven oracle. Zelda says yeah, they’re both friends with Adaine, she can ask about any weird divination stuff. Sam makes sure to specify she should look into TK but NOT Ending, no doubt remembering what happened when she tried to do a spell on her. 

It’s been a big day as Zelda says so they all go to the TGIF-esque Slappy McFinnigans to celebrate (which Sam has problems with--the fact that they’re celebrating I mean, but she’s mainly ignored). They’re quickly kicked out because Katja can’t help herself from trying to brush the mane of their centaur server and they reconvene at the more their speed SlamBurger, where a horse can fully destroy a soda machine to absolutely zero reaction.  Zelda says that Ostentatia was right in that they should all do the quest because it doesn’t close any doors and they have the 2 weeks to figure things out. They all seem a bit more on the same page (though Sam is still pretty frosty towards Ant) and start making plans.

Before they leave, Yelle pulls aside Ant and Sam and says hey, first of all, you two are still linked to Ending from before. Second of all, I know y’all are Going Through It right now and you don’t have to talk about it or make up right away but you need to get your heads in the game and you need to know that you’re both loved and still family. 

Penny, Zelda, Katja, and Ostentatia go back to the museum to try and get more information for their quest. Katja goes to the information desk (horse in tow, of course) and just starts asking information about TK. She’s told that she’s one of the museum’s benefactors and has been missing for years, and hey, do you understand that a museum’s info desk is about where the water fountains and exhibits are, not just random information about the world?

Ostentatia bails her out by calling her over so she can do her plan which is just to walk into the back area like she owns the place. Now, Aguefort students do have a certain level of clearance to be back there and she does have her school ID. But instead of explaining that, she tried to use her Earrings of Diamond Charm to charm the employee she runs into which fails. And then she does a pretty good tag-team lie with Katja about how they NEED to pass a class but that doesn’t fly. Then Ostentatia tries flirting which ALSO doesn’t work. Zelda at this point steps in and just headbuts the dude so they can book it away. I personally would have gone with, “Do you know who we are? We killed the dragon that’s your current main exhibit,” but you know. No backseat adventuring. 

While this is happening, Penny is stealthing like a pro, looking for anything Arcana related. Ostentatia and Katja also did checks (O getting a nat 20) and we’ll go through all their info gathered now. 

Katja basically gets info on TK we kind of already knew. She was a benefactor of the museum. She’s centuries old like Aguefort. She was concerned with consciousness and divinity and specifically how will and divine will manifested, as well as elemental magic.  

Ostentatia gets a lot of info with her Nat 20. She gets a full map to the temple where TK went which is called the Temple of Earth Defiant. The point of the temple is that it’s up in the open air and harsh winds--wind being a symbol of chaos and unpredictability to dwarves--but they still use it as a place to honor their heroes and they rebuild and upkeep it despite the erosion and how hard it is to get there. It’s hallowed from evil and lots of stories about it involve heroes racing there for sanctuary. It was made by dwarves but it’s a pilgrimage site for other primordial beings like goliaths and earth genasi (which is what TK is). There are 3 heroes who have big statues here: Asha Hammerheart (a SUPER dope name I must say), Yvonna of the Sundering Hills , and Kora Ironbrow.

Penny finds that, amongst Kalvaxus’s hoard there were 7 unrecovered artifacts--the Mirrors of the Eidolons (which are the smashed mirrors they found it seems). Eidelons are kind of like the elemental plane version of angels/celestials. They’re primordial (remember Katja saw primordial language on the wall of the dragon cave) and kind of aligned with things like titans and genies. Raw element with no agenda (unlike celestials and demons and such which have a clear alignment which makes up the D&D religious system). It is said by wizards--who look at these things in more of a nuts and bolts way than say clerics who take the fuzzier religions view--that Eidolons are the hands of the gods because gods are beings of spirit--how could they form the physical world. Will of the divine manifested by elemental beings? Sounds right up TK’s alley.

Sam decides she’s desperate enough for information that she calls her mom who she is understandably snippy with. Her mom gives her a contact to talk to when she asks about TK but Sam stonewalls her on show business talk. She tries to play the “mother knows best, you’ll thank me later,” in a kind of Gothel-y way while acting like anything in the past never happened and says Sam is attacking her but when Sam accuses her of neglect, she proves her right by hanging up the phone.

Sam then calls the number and it turns out to be Lola Embers (Fig’s agent) who has been waiting for Sam’s call for ages and wants to talk to her, even though she’s currently chasing her dog across the park. She says she met TK once at a genasi woman networking thing and also says she once saw Charity get into an argument with TK over government funding or not getting a grant or something similar. She then says she’s in a lake trying to get her dog and Sam, being a water genasi who can breathe underwater and also a fundamentally good person even though she’s currently being aggro as hell, goes to the park to help her. Lola assures her that if she’s ready, she’ll help her get new acting gigs and that the world is ready for the new her. 

Yelle meanwhile casts Speak With Plants on some trees near TK’s office and, after a super stoner to stoner conversation, gets a magical footprint trail of where she ran off to when she absconded 12 years ago. 

Antiope (who is in a sports bra because she destroyed her top with the Aguefort logo since that’s what was pinged, revealing in a wild, nat-1 fueled retcon that she got a tramp stamp reading “Leader” in the Red Waste) goes to see Charity to fill out some paperwork, ingratiate herself, and perhaps get some info. Charity has her hot, young, assistant (who Antiope is instantly crushing on) give Ant his shirt (and Charity’s lack of surprise at seeing his 4 horses pulling a chariot tattoo makes the group think they’re def banging). She kind of explains what the Ministry does and Antiope boils it down a bit to snitching on other adventurers. Charity says it’s more of a who watches the watchmen situation and visibly twitches when she has to say the word “snitch”. 

When she takes a second to call Antiope’s dad, she accidentally leaves a tab open on her computer which has TK’s file open (probably up from when the Maidens asked about her earlier). Antiope sneaks a peek and learns that the artifact that TK stole is called the Legendarium Extrodia and it tracks quests. It seems that at some point TK must have had top level access to get her hands on it. It also shows that TK was marked for assassination (which seems like a pretty good reason to get the heck out of dodge). Brennan also says she’s learned enough that she can use the L.E. if she finds it. 

At this point, Yelle tells everyone to come back ASAP so they can follow the magic footsteps. Antiope wants to come but doesn’t want to burn bridges with Charity (or chances with Preston--equally important) so she, at Katja’s suggestion--pretends to have diarrhea and is Nat 20 convincing. Interesting choice for the end of the first meeting with a person you’re crushing on. But Preston is actually pretty supportive as she races out the door as fast as possible.

The Seven follow the footsteps out of Solace and it becomes clear that TK was headed to the dwarven temple Ostentatia learned about. This is a multi-day journey so Cinnamon sings a glorious, magical, horse song and summons mounts for everyone which I will now name because this is obviously the most important part of the episode:

Snowfire - Danielle

Taffodill - Sam

Alagonia - Antiope

Candyheart - Penny

Starforge - Ostentatia 

Strawberry Dancer - Zelda 

Crucial info. 

As they travel, Antiope casts Primeval Awareness and gets that there is something ancient in the mountain. They travel through Pilgrim’s Pass (a village area most travelers to the temple pass through) but find it completely razed to the ground. They investigate. 

With an 18 Survival check, Antiope finds tracks that seem halfway between dog and cat. There are more than 4 legs and it’s hard to tell how old they are because there’s not a lot of rain in the area. They could have been left long ago and been undisturbed. Regardless, these are clearly from monstrosities. On a 26 History Check, Katja knows that this area used to be protected by Blink Dogs (teleporting dogs) but they seem to be all gone now. On a 22 Nature check, Yelle sees a weird feather made out of plant material. It seems like fae stuff but bad vibes. On an 18 Insight check, Sam knows this was a purposeful slaughter.

And on Penny’s 30 Arcana check, oh boy. Penny finds broken common scrawled on the wall in human blood talking about a queen of the mountain who rules the skies. That only the queen may see and none may see themselves. And that the people were told to destroy the seeing glass and did not obey. In from of that message is a bear hide covering something magic. Penny lifts it with reckless abandon and sees tons of mirror shards.

Friendship bracelets! She thinks.

Gotcha bitch, the thing in the mirror says.

Uh-oh.   

Penny calls over her friends to let them knows she may have made a tiny mistake. The group is pretty split between, “Understandable,” and “Girl, WHAT?” In her defense, she did try to cast Friends on the person on the other side of the mirror shards but that’s not enough to stop an entire pack of 50-60 Displacer Beast (magic tentacle cats)/Blink Dog hybrid monstrosities along with the Harpy Queen (voice from the mirror) and her plant feathered harpy minions to start rapidly making their way to their location. 

It is at this point that Ostentatia remembers that abominations and monstrosities cannot step into the temple which means it’s time to RUN. 

And NOW it’s combat time. 

The premise of this fight is that the girls are on their horses, moving towards the center of the temple as fast as they can while fending off the closest enemies. I won’t give an exact play by play but the two highlights are as follows:

Yelle conjures up a bunch of geese with raptor stats (...so normal geese) to swarm the head cat/dog abomination and has to do a truly stunning amount of math for which she is rewarded with SEVENTY POINTS OF DAMAGE. 

Antiope does some insane arrow trickery and gets the Queen Harpy in the wing (which Ostentatia helpfully gets on video so she can show Preston later) and then forces her to take damage as she falls. If not for an extremely lucky Box of Doom nat 20, she may have been down for the count. Antiope still comes away with more than FIFTY points of damage on her though. 

And we end the episode mid-combat! We will catch up on our girls next time!

Superlatives 

Penny: Most Likely to Make Friends During a Hostage Situation 

As a companion to Danielle’s superlative last episode, Penny gets this award for reading or misreading every situation as an opportunity to make friends or make friendship bracelets for the ones she already has. 

Random Thoughts

Did you guys notice that with Katja having Cinnamon and Charity’s assistant being Preston, that’s two of the main pet NPCs from A Crown of Candy?

Antiope’s Reaction to Yelle Saying That Maybe Things Ending Isn’t So Bad: Rail against the dying of the light! Why are you OK with this?

Penny’s Reaction to Yelle Saying That Maybe Things Ending Isn’t So Bad: Entropy is TERRIBLE! Everything needs order!

The greasy cashier’s response to Ostentatia’s flirty, “Come here often?” is “To my job? Honestly no.” Brennan? Chef’s kiss. 

My other fave line this episode is from Sam. “I believe Cinnamon fucks.”

It’s very cute that Penny is like, “I gotta text Riz about this Eidelon stuff!” Not because she wants help. Just so they can geek out together. 

The joke that Brennan didn’t think about the birds is so funny considering all the bird facts in Misfits.

Also re Birds attacking: “They made a movie about this Brennan!” 

Good on Ant for refusing an Aguefort sweatshirt from Charity when offered after the little scrying incident before. Remembering things like this saves lives. 

It has been brought up several times that Ending isn’t necessarily Bad just Ancient and Powerful and I trust Yelle’s vibe check but also, like, a forest fire doesn’t have malice behind it but it can still devastate a city while it clears out dead trees that need to be cleared, you know? Not ready to start wild speculation yet but I am curious. And am similarly curious about the sisters Ending has mentioned. Oh and the parallels of 7 Maidens, 7 mirrors. It’s all there, we just need a little more info. 

Honestly, get you a man who will see you rushing out of a building, loudly claiming to have diarrhea, and instead of being grosses out will just supportively confess his own stomach issues. I wish he was just a little younger cause I want that for Ant. 

I do like that D20 has been playing a little more fast and loose with the RP ep/combat ep format. I think it really helps with story flow. 

In this episode Antiope and Brennan as various non-Zelda NPCs rolled 2 Nat 20s. O rolled one. Ant rolled 1 Nat 1--which was on a self imposed roll to see how she responded to Sephie’s tramp stamp improv. And O may have rolled one for initiative also but I wasn’t sure. 

[magireco]

out of curiosity what do you think of the characterization of homura in rebellion? i hugely dislike it but get the impression you enjoy it which i think is interesting cuz we seem to have very similar thoughts on homura pre-rebellion (CORRECT ME IF I AM WRONG)

THIS IS INTERESTING BECAUSE IT DEPENDS ON WHAT FLAVOR OF REBELLION HOMURA YOU MEAN. i really really like the way she was done in the first half of the movie but as for the twist at the end...? mmm...

...okay, so... i've been thinking about saying this at some point but i keep avoiding it in fear of causing discourse and such bc... this is a really unpopular opinion apparently, but I really do not think devil homura was done properly. read under the cut if you wanna know why i feel this way!

the first issue i'm going to address is that there wasn't NEARLY enough buildup for it. i'm going to explain this from the perspective of a first-time viewer: what would you have thought would happen after the very last scene of rebellion leading up to them breaking homura out of her soul gem? when homulilly got purified and the flowers on her head turned to sakura flowers (y'know, the flowers that symbolize life and rebirth, homura being reborn from her witch)? did you think homura was suddenly gonna undermine madoka's godliness? because, uh, first-view me did not think that at all. and neither did almost anyone i know who watched it for the first time. not only is that poor setup but it's just so sudden and it feels so out of character compared to what we'd seen in the entire series as a whole, especially considering that the entire last part of the movie leading up until that was about purifying her... and saving her... there wasn't enough buildup. most people are like "but the flower scene happened!" but that's still way too vague...? it's hard to tell what conclusion homura comes to at the end, because we don't get to see any of her internal monologue... there is no other buildup after the flower scene... it just skips to homura realizing she's a witch. wouldn't that bring the viewer to think the flower scene was something that made homura realize she was a witch rather than her suddenly starting to form her plan? it always felt like to me the conclusion homura came to at the end of the flower scene was that she was validating madoka's bravery and telling her that if it ever came to that, she'd have the ability to make that hard decision. which is... so... weird? because i always interpreted that as homura coming to terms with what happened? i could just be interpreting it wrong though, but isn't that supposed to be our proof scene? our buildup scene? why would they make it so hard to understand? we need to know such important buildup points just as blatantly as the natural buildup to homura becoming a witch was. that's just from a moviemaking & writing perspective though.

secondly, i'm gonna discuss homura's motive. i actually ended up understanding were she was coming from after a while of being like "what the hell that makes zero sense!!!!". madoka is a 14-year-old girl who, in order to save the fate of every magical girl, literally had to sacrifice herself and erase herself from the world, and in the end, madoka just ended up saving homura again, and that must've made homura feel like her promise with madoka was never fulfilled. it's unfair what happened when you think about it and the law of cycles should not have been run by madoka herself because she, as any other 14 year old, deserves to be happy on earth. although it was said in magireco that madoka felt happy with what she was doing (and she felt like it truly gave her a purpose), she did admit to feeling lonely and homura probably made that assumption big time. but the way the writers went about it just made her seem so sinister... so out-of-character-ly sinister. what with the evil smirking and the deepened, almost... uh, sensual-seeming voice, and homura completely ignoring madoka's fear. it feels like they twisted her character extremely suddenly and it throws the viewer on a loop. they could've gone with that ending without making such drastic and sudden changes to homura's character, and if they were planning on doing that, why did they not give us more buildup? buildup that wasn't extremely cryptic that you have to scan and search every detail to get a clue? something i love about rebellion is that every time you watch you find something new, but how come some of the only clues illuding to devil homura's existence are in the op? it's odd. why didn't they go with something like making the incubators run the law of cycles? they were the ones at fault for causing it to be created. but honestly, the incubators cannot be trusted with anything, which is why it'd make sense for a magical girl to run the law of cycles, but if homura and madoka had the combined power to do so, what if they just remade the law of cycles so it was less unfair to madoka...? i don't know. either of those possibilites would make more sense than what happened.

something else that kind of irks me about it is that they demonized(literally, lol) homura's love for madoka. homura is very much a canon lesbian, and it's incredibly discomforting to me that they made her seem, outwardly to the viewer, so selfish...? please don't get me wrong, i'm not ACTUALLY calling homura selfish -- i know the entire akumura facade is a mask she put on, but like, it's so much more blatantly sinister than she is in the series when she's putting on the coolmura facade. it's going to really confuse the viewer and see every single one of her actions from the entire series in a completely different light, INCLUDING stuff that happened in rebellion itself. like the genuine sadness homura felt, the way we saw into her soul and felt her pain, that genuinely made a lot of people i've seen think that it was ingenuine upon first inspection... they made homura turn "evil" out of her love for madoka, as if it's a bad thing to fall in love, and as if love for another girl was what corrupted her soul gem... i understand that gen urobuchi probably wanted to explore that kind of path where love leads to obsession or whatever, but homura was selfless to a fault, constantly trying to force herself away from the others in order to not get attached, and deeply afraid of seeming creepy and predatory and scaring(she said this herself), which is exactly what she ends up doing at the end, and i feel so awful that they did that to her... how is the viewer supposed to know what her true motives are at that point? it gets all scrambled up after they did that huge plot twist. i'm going to address another thing super quick before people jump in my ask box over this, i understand also that it would make sense for homura to be obsessed with madoka, but in the series, it was never shown in this light, and like i said, if they were going to do this, why'd they even have the purification scene at the end at all? the buildup is all wrong . it also just made me upset that this ending caused SO many people to start literally believing homura is evil because of her actions at the end, and it made people become even more vehement on their beliefs that homura is obsessive and ps*cho...

i was really confused when i watched it for the first time (and also sobbing hysterically, literally, my funniest rebellion story as someone who has genuinely watched the movie 40-ish times, i remember vividly the first time i watched it i started sobbing on my hands and knees on a yoga mat in my mom's room). also like, just to prove my point a teensy bit more, the ending was so ambiguous and out of nowhere that one of the first google results to "madoka magica rebellion" is "madoka magica rebellion ending explained" because it shocked people so much that that was the first thing they needed to google. also, the fact they left us on such a vague cliffhanger and then abandoned the movie series for a total of 8 whole years only to make a sudden comeback in god's holy year of 2021 was almost cruel. LIKE GUYS I JUST FINISHED UP MY DEVIL HOMURA HEADCANONS IT TOOK YOU LONG ENOUGH!!!

...anyways, um, i really have to address the sexualization. madoka magica, previously, was a series that avoided fanservice in the show, at least, but why did they make akumura's design look like that...? it shows an unsettling amount of skin and like, every three seconds in the end they're focusing intensely on her lips and her eyes and... it's almost like the writers forgot she was 14, but they never seemed to forget that in the series? what happened????? in the transformation scene, we get closeup views of homura's thighs and back and stuff and it's all open everywhere... they made her tights into thigh-highs... in the whole series, even when she went to school, she always wore tights, and she was wearing tights in her magical girl outfit too... they absolutely deliberately did that to sexualize her further so they could make official art with her thighs out. speaking of official art that unsettles me, why does so much of the official art make the whole outfit just glued to her body and you can see all the shading on her features... it's just. ugh. anyways.

i went off a LITTLE too much on this and i know this is probably gonna get me some weird glances in the fandom and i am open to hearing other people's opinions but i don't think i'll ever stop disliking the effect this plot twist had on the fandom's interpretation of homura and although i'm like UNDENIABLY incredibly hyper excited for the next movie, i'm kind of...nervous for what this is going to bring? i don't want this next movie to cause the same amount of discourse the ending of rebellion did and i legit just want to see homura happy. another one of my main issues with the ending is just that homura is SO unhappy when she literally deserves to be happy SOOOOOOO BAD and just take a break from all the loops ... i'm Praying to madokami out there that that's what happens.

i know this is all really funny coming from someone who draws devil homura on a regular basis and literally writes her, but like... i'm a lesbian i'm allowed to<3

ANYWAYS thanks for listening this was a fun ask!!!