#doesn't even make sense for her to be dead

[katerinadeannika]

Notes after watching the full Behind the Scenes of Agatha All Along posted on Nov 13th 2024:

There was no way they could have written an ending for Agatha that did not involve death.

I have been saying this to all the naysayers from the get-go, to all the people making posts about being done or fed up or angry about the ending, or how it makes no sense, or how they should have could have done something different and been fine story wise. The behind the scenes confirmed my point.

The main through line for the entire show was the theme of Death; of Agatha never being able to escape it. Where she both loves and hates death and Death, the concept and the woman. Where she's been running from Death for centuries, but Death came for her son and was always coming for her the second she slowed down.

Every completed trial meant someone would die. Billy created the road based off the rumors and witch lore. And the only rumors out in the witch world were that someone knew someone else's aunt/relative/friend who had undertaken the road and never returned. In reality, that was Agatha's doing. But to Billy, it meant that somehow, the Road took its toll on them. And when the coven traveled it, the Road exacted the same price that Billy expected it to. Death or near death at every trial.

The first trial killed Sharon. The second gave Alice her power back and then Billy almost died (and probably would have if Agatha hadn't pleaded with Rio on his behalf, if the coven hadn't worked together, and if Billy hadn't made the Road with his own powers. Some interesting combo of the all the above). The third trial killed Alice who was trying to save Agatha. And the fourth trial killed Lilia and the Salem Seven.

Jac said she intentionally wrote it where Death was a very real thing that everyone in the show had to come to terms with.

And for Jen Kale, her gift was already dead, and she was supposed to resurrect it and take her own power back. She escaped because after Agatha's trial, the fifth one, someone DID die.

And this time it was Agatha.

Agatha had avoided it every other time by either being saved, or having the rest of the coven as fodder for death.

But in the end, when she could have left once again, she must decide who has to pay the final price for her invention of the Road. The Road that she has used to kill and lure countless witches to their doom over the past few centuries.

She can save the boy she has come to love and mentor after the loss of her son. Or, she can leave once again. And so she makes the final moment of self sacrifice, and chooses the final victim of the Road: Herself

She has been running from Death for centuries.

For Agatha's story to have a thematic ending that wasn't cheap or manufactured, she had to stay true to that through-line. That's how writing works. You find your themes. You write about and explore them. And you have a final consequence that determines if it's a positive arc or a negative arc for your main character.

They chose for Agatha to have a positive arc. A moment of final growth. To end the show on her finally making the right decision, even at the cost of the life she's sustained through countless centuries and via countless deaths.

There was no way the show could have ended any other way.

PS: There is no excuse to hate on it. At all.

It doesn't meet any of the criteria for the 'Bury your gays' trope. It doesn't even end Agatha’s story. But it does provide expertly written, well thought out, thematically poignant endings for all the characters in a way that satisfies their personal journey—throughout the show and the centuries.

And I am so glad they made it, and that it ended how it did. I wouldn’t want it any other way. As a writer. As an editor. As a viewer. And as a lesbian.

Agatha All Along is a masterpiece in TV writing. And I can’t wait for more.

PSS: Watch the Behind the Scenes on youtube that Marvel just posted. It’s super good and includes all sorts of info to help with fic writing and just general understanding of the writing and show creation. Also lots of Kathryn Hahn and Aubrey Plaza in interviews!

TLDR: Quit complaining and griping about the ending. It was written beautifully. The reason you got so invested is because of all the heavy death elements throughout that made things mean something. Embrace it. Or find media where you were the target audience. Cause if you couldn’t handle something well written that ends like this, you weren’t the target audience. And that’s okay. But move on before you keep griping and causing issues with the community and the cast.

[tossawary]

I'm reviewing episode transcripts from "Merlin" to build up my worldbuilding document (character list, mostly) and, a little ways into S2, I'm kind of feeling like the show is actually quite mean to Arthur as a character sometimes? S1 E14: "To Kill the King" is one of those episodes where I forget how badly it pissed me off until I run into it again.

Like, don't get me wrong, Arthur can be a bully, entitled, hotheaded, and reckless, but he's also at this point risked his own life to save people multiple times. Both individuals whose lives were "worth less" than his own (getting the Mortaeus flower for a poisoned Merlin, smuggling Mordred out of the city, protecting Ealdor from bandits) and also Camelot as a whole (fighting the plague-causing monster in the sewers, fighting the mam-eating griffin, drinking poison to lift the unicorn curse).

Arthur is giving me vibes of being both bored and frustrated (and probably not able to name those feelings or exactly why he has them) because he wants so badly to do good things, but he's not really sure how to go about it because (no one ever tells him anything, he almost NEVER knows what's really going on to make informed choices, and) he's also stuck under the thumb of his tyrannical father, who spends most of their scenes together berating Arthur for being too merciful, for not being dutiful enough, and/or not finding sorcerers for execution fast enough. When Arthur tries to be fair-minded and compassionate, Uther often essentially tells him that he's going to be a weak king with that attitude.

Arthur's pathways to betterment are limited, his parent and role model and boss here is an AWFUL person, but he's trying!

So, it's quite frustrating to get to this one episode where characters like Gaius (extremely biased, admittedly, clearly not an objective individual) are saying things like: "Arthur's not ready. The responsibility would be too great. Brave though he may be, he lacks experience, he lacks judgement."

Like, I don't know, Arthur may be only 21 and kind of a dipshit, but I personally think he'd still do a better job than the guy who tried to kill a kid (Mordred) just for existing a few episodes ago? Maybe? Gwen's father, who wasn't even a sorcerer or knowingly working with one, is dead explicitly because of Uther's awful laws. Did everyone in this episode forget that Uther tried to BURN GWEN ALIVE AT THE STAKE not that long ago (Episode 3)?

ARTHUR: "[Morgana]'s right, Father. You hear the word magic, you no longer listen."

UTHER: "You saw it for yourself. She used enchantments."

ARTHUR: "Yes, maybe. But to save her dying father, that doesn't make [Gwen] guilty of creating a plague. One's the act of, of kindness, of love, the other of evil. I don't believe evil's in this girl's heart."

UTHER: "I have witnessed what witchcraft can do. I have suffered at its hand. I cannot take that chance. If there is the slightest doubt about this girl, she must die or the whole kingdom may perish."

ARTHUR: "I understand that."

UTHER: "One day you may become King. Then you will understand. Such decisions must be made. There are dark forces that threaten this kingdom."

ARTHUR: "I know. Witchcraft is an evil, father. So is injustice. Yes, I am yet to be King, and I don't know what kind of king I will be, but I do have a sense of the kind of Camelot I would wish to live in. It would be where the punishment fits the crime."

UTHER: "I fear you're right. She's played with fire, and sadly she must die by fire."

When the adult druid (Cerdan) accompanying Mordred is killed (Episode 8), Arthur objects afterwards! On his own! While Arthur is sometimes an active participant in Uther's tyranny and otherwise complicit, he's been told all of his life that magic is inherently evil and corrupting, he was raised by the very man spreading this hateful philosophy, he should probably hate magic more than anyone after Uther, and yet he still disagrees with Uther's methods and judgments. Even though Uther is apparently VERY willing to lock both his son (Episode 4) and his ward (Episode 8) in the dungeons for disagreeing with him and disobeying him!

ARTHUR: The Druid was only in Camelot to collect supplies. He meant no harm. Is it necessary to execute him?

UTHER: Absolutely necessary. Those who use magic cannot be tolerated.

ARTHUR: The Druids are a peaceful people.

UTHER: Given the chance, they would return magic to the kingdom. They preach peace, but conspire against me. We cannot appear weak.

ARTHUR: Showing mercy can be a sign of strength.

UTHER: Our enemies will not see it that way. We have a responsibility to protect this kingdom. Executing the Druid will send out a clear message. Find the boy. Search every inch of the city.

Obviously, running a kingdom is complicated! Uther apparently won Camelot by conquest and is in conflict with many of the neighboring kings, including Odin and Cenred, and likely has more of the respect of the local nobility than young Arthur does. Uther's death would create some instability! (Agravaine de Bois hasn't been created yet, but let's assume there are many other potential vultures.)

But the show generally isn't pushing that angle. This isn't really about smooth transitions of power. Personally, concerning Arthur's "lack of judgment", I do find his ready conviction that it is his duty to die for Camelot's honor if necessary (he says as much to Merlin explicitly before fighting Valiant in Episode 2, then again before fighting the Black Knight in Episode 9) more than a little concerning, but that doesn't seem to be angle pushed here either.

The show has characters (Merlin, Gwen, Gaius) suggesting that offing the King, who regularly kills innocent people whether they have magic or not, who has forbidden use of the tool that might have saved innocent people from Nimueh's plague or the wraith of Tristan de Bois, would be wrong! It would be murder and murder is bad! It would make (in the words of a grieving Gwen) her "just as bad" as him.

Even though Merlin has at this point already killed Aulfric and Sophia (Episode 7), as well as Mary Collins (Episode 1) because they were trying to kill Arthur. And arguably got an assist with Valiant (Episode 2). And will kill many more as the show goes on. This conversation with Kilgharrah in S1 E14 is in many ways so, so funny:

KILGHARRAH: Well, young warlock, what is it you come to ask of me?

MERLIN: I need your help.

KILGHARRAH: Of course you do, but this time, will you heed my words?

MERLIN: The sorcerer Tauren is plotting to kill the King. He's made an ally of Morgana. I don't know what to do!

KILGHARRAH: Do… nothing.

MERLIN: What do you mean? If I do nothing, Uther will die.

KILGHARRAH: Don't you want Uther dead? It is Uther that persecutes you and your kind, Merlin. It is Uther that murders the innocent…

MERLIN: But surely that doesn't make it right to kill him.

KILGHARRAH: Only if Uther dies can magic return to the land. Only if Uther dies will you be free, Merlin. Uther's reign is at an end. Let Arthur's reign begin. Fulfil your destiny!

[The dragon flies off.]

MERLIN: Wait! Where does it say my destiny includes murder?

KILGHARRAH: Free this land from tyranny, Merlin! Free us all!

I feel for Kilgharrah here. He was VERY straightforward. I don't know how he could have been clearer about this.

I won't say that Merlin's character writing doesn't make ANY sense here (I do think the character writing in this show is NOT amazingly consistent), because... he IS being influenced by Gaius, who is, unfortunately, a bootlicker and also probably extremely traumatized by all of the death he's seen (big contributor of the bootlicking) (also, apparently Gaius only becomes a "freeman" at the end of Episode 6, so there's that). And Merlin is also being heavily influenced by Arthur, who loves his father, despite everything. For Arthur's sake, if no one else's, Merlin will go out of his way to save Uther. Sure! That tracks!

Merlin spends a lot of time in this show protecting a terrible status quo under some assumption that Camelot will... somehow suddenly become better under Arthur? Instead of perhaps eventually just trusting Arthur and talking to him after their years of knowing each other? There are several, in-world reasons for this and I don't think they're all unrealistic! It's tense! It's thrilling sometimes!

(Though I am ultimately a little annoyed that Merlin's many secrets never really come out and get dealt with by the characters, because that would have been fun drama and some resolution to all the tension, even if the story did still end in death.)

There's some tasty tragedy in this silly show, in many ways. Merlin is confused and conflicted and scared and without clear guidance in many ways. Kilgharrah is mysterious and not at all reassuring. Gaius is complacent and (very reasonably) incredibly secretive. Merlin doesn't get to see many of the moments where Arthur speaks up for magical people and tries to talk Uther down. Morgana and Arthur are both stuck here in a "The hands that cradled you are covered in an unimaginable amount of blood." "But they cradled me, yes?" nightmare scenario. (There's also a sexist element where male characters like Gaius and Merlin won't let Morgana know about her own powers "for her own good" in a gaslight-y way that's fascinating to me in how it creates a villain.)

But, also, the compelling tragic elements here don't make certain episodes any less frustrating to watch in their execution. (I don't think villains being frustrating to watch or read necessarily makes them effective villains, especially when what I really find annoying here is the heroes' reactions to the villain. Uther has killed SO MANY PEOPLE! FOR NO REASON!) Especially when a lot of the overall results of this show often feel more accidental than purposeful. I do understand why the writers keep Uther around! He's a formidable antagonist to have looming all over the place and the actor is fun.

But OOF, I felt that "Do... Nothing".

Merlin! MERLIN! LISTEN TO THE SCARY DRAGON! MERLIN, REMEMBER THAT TIME UTHER TRIED TO BURN GWEN ALIVE??? JUST BECAUSE GWEN IS TOO NICE TO GO AFTER UTHER WITH A KNIFE AND TAKE REVENGE, IT DOESN'T ACTUALLY MEAN KILLING HIM MAKES YOU "JUST AS BAD"!!! MERLIN!!! YOU HAVE ALREADY MURDERED MULTIPLE PEOPLE WHO KILLED WAY LESS PEOPLE THAN UTHER!!!

In Episode 4, Morgana says to Uther: "You can't chain [Arthur] up every time he disagrees with you." This implies to me that Uther has had Arthur thrown in the dungeons before. In Episode 3, Arthur says to Morgana: "Father will slam us both in chains if he knew I'd endangered you," and maybe he wasn't at all joking with that? Arthur is rattling the bars of his cell here, apparently fairly ready to be aimed wherever Merlin points him, bucking against being aimed at innocents by his tyrant of a father.

But nooo, Gaius says Arthur is "not ready yet" because...??? He seems less hotheaded than Uther to me, honestly. Are his tax policies not up to par yet? You can hire a guy for that. Suggesting that Arthur would be in any way worse than His Majesty "Anyone Who Talks To A Sorcerer Gets Executed Even If They Didn't Know They Were A Sorcerer" feels quite mean to Arthur, really. I think he'd do alright, in comparison, Gaius who lies to the King every single day, but I suppose you sometimes want to be a loyal friend to good ol' King "Made Merlin Drink Poison That One Time And Wouldn't Let Anyone Go Get The Cure". Good for you. Bad for everyone else.

Like, I know, I know this show is not very deep. I like that all of the characters are flawed and fumble a lot! I even kind of enjoy that it ultimately ends in death with so many loose emotional threads. It is a weekly burst of fantasy nonsense that is not especially concerned with consistency in worldbuilding or characters from episode to episode. But the executive discrepancies here are, like the ones in "Star Wars", weirdly fascinating with all of the holes and wobbly bits it creates.

This show: "Yes, our hero has once again saved the tyrannical king who kills innocents! Preventing the oblivious prince from assuming the throne and trying to do better as he so clearly wants to do! Good work, Merlin, taking the high road (which involved murdering the rightfully angry people trying to kill the tyrannical king) again!"

Me, every time: "...I am genuinely not sure how the show wants us to interpret this. What did they think they were doing with this? Was this always meant to be a tragedy from the first season? Because personally, I'm getting some kind of tragedy from this."

[oshinohoshi]

Oshi no Ko chapter 166 thoughts - the end of all things

So uh... the only positive thing I can say here besides the beautiful Ai art is that I felt sad reading the page where Miyako was hugging Ruby. Everything else left me completely empty

This chapter is either:

A) A self-aware ending meant to show that life is suffering and the idol industry will suck out your soul if you let it

B) Outsourced to someone who skimmed OnK for 30 seconds on Wikipedia before putting pen to paper

It has to be A, right? You can't tell me that the same author wrote both of these pages without the right being ironic

But I don't think so because big brained Akane is the one clumsily narrating this crappy montage masquerading as a real ending

Aqua died for nothing. His sister is now a soulless cog in the idol machine

Ruby is mimicking Ai's speech - "Lies are an outstanding kind of love... We pile on the lies and no matter how hard things get, we sing and act happy onstage. It's a fun job!" But she forgot the rest of it: "Only, I'd like the 'being happy' part to be real. Nobody notices, but we have hearts and lives of our own. Happiness as a mother. Happiness as an idol. Normally you'd have to pick one, but I want both. Ai Hoshino is a greedy girl"

Ai wasn't only a misunderstood girl who worked hard to please her fans. That was a big part of her story but she also broke the rules to create her own family, her own happiness

Ruby, on the other hand, seems to have no real desires anymore, she's just following a path she believes her mother and Aqua paved for her. Never mind that Aqua only wanted it in the end because she wanted it and Ai just wanted her kids to be happy

You can tell that Akasaka is patting himself on the back for making a cyclical narrative where Ruby becomes Ai 2.0 by being commodified, scrutinized, and idolized like Ai was

But it's such a flimsy parallel when it comes to the theme of lies because lying to hide your grief =/= "lies are love" which was the only way Ai knew how to frame her genuine desire to love

And Ai's "I love you" to her kids was true whereas Ruby has swallowed her own lie that being an idol is fun even when you're just doing it to outrun your pain

What this chapter showed us is that the meaning of Ruby's life is to be Ruby of B Komachi and she was put on Earth to sing pop songs. Because that's what Ai did, right? If I remember correctly, her final words were "I'm so glad I got to be an idol #blessed"

My God was the Dome concert soulless. Miyako and Ichigo crying happy tears is a punch to the gut. Doesn't Miyako know her daughter is still hurting?

The last scene is so fucking depressing

Ruby, are you okay? Blink twice if you still remember your life outside the idol industry!

The last two pages work really well as horror. She has a brilliant smile but you can tell that she's dead inside. She's got more merch on her table than photos. Why doesn't she have a corkboard of family photos? Although I more or less have this Ai plushie and it's pretty cute so I'll give this a pass because it's hilarious

I guess the takeaway here is to live for others and life is painful so just grin and bear it. Oh yeah, and inspire other young women to join an industry where they get to act happy and lose their humanity. Cool

I mean I get that it's supposed to be about moving on with your life even while grieving and that's a good message, sure, but Aka's insistence on using the word "lies" multiple times as if saying it makes it make sense ruins the whole thing

The most insane part is that this chapter is a wholehearted endorsement of the lies sold by the entertainment/idol industry

I haven't even said anything about anyone besides Ruby because what's the point? Aka didn't have time to do justice to any of the characters I grew to love

It's clear something went wrong with the timeline of wrapping up OnK. No artist wants to execute a final chapter like this. I'm convinced the film reel edges are Aka and Mengo's way of telling the reader, "we know this is a shitty clips show so don't @ us on Twitter about it"

But it's so much worse than that. Aka really decided to tear to shreds everything he worked so hard on for 4 years. Damn

This is my favorite manga and I'll always love that it gave me Ai, my most beloved character of all time, but this leaves an extremely bitter aftertaste. It's really hard to believe that the same person who wrote vol 1 wrote this.

OnK has been pretty important to me. Reading weekly, chatting with fans, and reaching dangerous levels of Ai brain rot has actually been a helpful distraction. TBH I've been a little too invested in it but sometimes you need escapism. So it's crazy that I'm kind of glad it's over.

But this is why fanfic, fanart, and your own headcanons exist. In another universe, this manga wrapped up beautifully and I was depressed for weeks because I couldn't look forward to it anymore. In this universe, at least we're all suffering together here at the end of all things.

And at least the little Hoshino family is still adorable. Too bad Ai is dead, Aqua is dead, and Ruby desperately needs grief counseling. But NEVER MIND. Look at Ai's smile and the twins' faces. This was the Oshi no Ko I really loved.

[archive-of-wax]

I don't even know where to start with my love for this post, I've literally been rereading it over and over all day. This is by far the best interpretation of Trudy's parenting I've ever seen. It really captures the complex family dynamic we see onscreen with the twins, both with their mother and each other.

It's easy to focus on Trudy's evident abuse of Bo in the opening scene, but I think this is the first time I've seen anyone really analyse her interaction with Vincent. It's also one of the few times I've seen anyone speculate about his perspective or thoughts regarding his mother and her parenting, and I think you're spot on. Vincent wasn't showered with unconditional love while Bo got constant abuse. He was smothered with overbearing attentiveness that probably caused more issues than it fixed. Helicopter parenting certainly lines up with many traits fans have inferred from Vincent's portrayal, such as perfectionism, overdependence, and an anxious disposition.

I also felt that his perception of their mother wasn't as idolised as Bo's, and would go as far as to say that during his and Bo's kitchen convo I felt a hint of...exhasperation? Even weariness. At Trudy, at Bo's idolised view of her that he seemingly can't reject out loud, maybe even the purpose of their murderplot. I always imagined his feelings towards her to be something like 'I love you but please stop I'm begging you, why are you like this, why can't you be better for us', and I feel like part of that frustration came from knowing that none of the hovering and fussing was ever really for him as much as it was for her to feel better about herself, so any conversation about his feelings on the matter would have been pointless. If not immediately dismissed it would have just caused an argument, and this family has enough of those already, right? No need to rock the boat.

I have also never seen that newspaper clipping about Victor?! Could I ask where you found it? It completely throws loads of backstory theories out the window. Your version makes the lead-up to the murderplot make so much sense too. Bo and Vincent didn't just wake up one day and choose violence for no reason, but rather the pressure slowly built up: their father passing, the mill shutting down and all the jobs disappearing, then the town's inhabitants leaving, and lastly their mother's death. I imagine they found themselves alone in their now dead hometown, feeling washed up, lacking the practical and social skills to set off on their own (Vincent in particular), grieving the most pivotal person in their lives, and fit to burst with rage at the world. With their minds already cracked from their upbringing, and nothing to lose, it's easy to imagine how one thing led to another...Maybe some lost jackass gets a little too cocky with Bo at his mechanic shop, a fight ensues, Bo doesn't quite pull his punches like he knows he should and accidentally kills him. And then all it takes is a 'Yes, I know this is bad, Vince, but listen. You know how you've been having trouble sculpting like mama used to...?'

Anyway yes all this is to say this was a fantastic read! Thank you for sharing your thoughts, hope you don't mind me going on a mad ramble on your post haha. (Also could I ask you to link that study of a similar conjoined case? I've been looking for a real life counterpart to the twins' condition and could not find one for the life of me!)

Trudy refills Vincent’s cereal. He’s 2-3 years old and blind in one eye. He doesn’t need more cereal, he just needs his bowl rotated so he can see the cereal that was left over on his blind side. Not that we necessarily know how Vincent communicates without speech, but she hardly gives him time to answer her question about more before she’s refilling the bowl anyways. This is her approach to parenting her boys in general.

There’s no interest in fixing their actual issues. Rather than help Vincent to see what he already has in front of him, she’d rather add more, inadvertently also adding more onto the side he can’t see. At some point, this would just add to the issue. Overcompensation into overwhelm. Bo is brought in for breakfast kicking and screaming and it’s sort of evident why Trudy puts all her love into Vincent to the point of it being suffocating and unhelpful. Sure it could be a simple case of favoritism, but with the aspect of overcompensation specifically, it seems that she wants to balance her guilt over failing to parent one of her sons by pouring more effort than necessary into Vincent. Rather than giving the extra attention to Bo, it’s refilling a non-empty bowl of cereal.

I don’t think that necessarily mean she loves Vincent more. She finds him easier to parent. Fill the bowl whether or not he needs it because that’s easier than unpacking where Bo’s massive emotional outbursts are coming from. It seems more like love-bombing than genuine kindness. He’s “being such a good boy today,” but the implied part is an unsaid comparison to Bo. As twins, and conjoined twins at that, they’re not independent of each other. Vincent’s behavior exists only to contrast Bo’s, from her perspective. “Fix” his needs, and she can fix them both. Hence, preferring just to duct tape Bo to a chair than help him any.

Then Vincent grows up to become her protege, starting in his childhood but lasting until even after Trudy’s death. Over thirty years have passed since they were toddlers in those high chairs, but Bo gives a hint about why Vince got that ‘special privilege’ to not be as physically abused. “She always said that your talent would make up for what God took away from you.” Only, God didn’t take anything. Victor Sinclair doing illegal, unqualified surgery on his babies is why Vincent lost half of his face. Trudy only uses God’s name and religion as a shield for her own guilt about how her boys turned out. But it’s more likely she included Vincent in the wax business because she again, was dumping affection onto him over and over as her strategy.

Otherwise there isn’t as much favoritism between the boys. In their childhood photos, they both play piano, both play pool and baseball, both get to sit at the table with their birthday cake (without highchairs or bindings) and they play on the floor together. It's not entirely divisive between them, though it’s still obvious from which brother she’s slapping across his face and which brother she’s love-bombing which she’d prefer to deal with. Just not which she actually cares for more. Vincent wasn’t somehow spared from abuse in a house like the Sinclair household.

Interestingly, when Bo tells the story of Trudy and Victor, he mentions that once the Doc died, they were alone. Except, there’s at least one version of a prop newspaper stating that Trudy created a wax memorial for Victor. So this is just a false version of events most likely. Sure it could be that a decision changed, but there’s also the fact that, in the guns and ammo store, there’s a sign that says “Trudy’s Town or Wax.” And Bo tells Vincent, “We almost finished what mama started.” She’s also much older than the Trudy we see in the family photos and articles (even with the amount of cigarettes that woman smoked.) Ambrose is confirmed to have been abandoned for a decade, but to be turned into wax, Trudy would’ve had to die sometime between the abandonment of Ambrose and the present. Else she would’ve been properly buried most likely. The plan to fill Ambrose was hers, it’s just Bo that suggests using real humans (according to his apology to Vincent, he takes credit for the idea anyhow.)

Which makes her boys at least in their mid twenties when she died. In an older version of the script, Bo had killed her and Victor, but knowing it would put them all in foster care, that doesn’t quite make sense unless they were older. So the order of events is, Doc dying, the sugar mill closing, Trudy planning to reimagine Ambrose, and then dying herself.

The reason that’s important is because it’s emblematic of just how much pressure she was putting on both of her boys. And that’s not love. With two mentally ill, abused sons, (maybe three, since Lord only knows how they treated Lester once he came along,) that’s just manipulation. Victor and Trudy aren’t cartoon super villains for being bad to their boys. But when you can’t even just rotate a bowl slightly for your half blind little one, it’s shallow. Trudy has her cigarettes right in the boys faces in the opening and in most of the photos. Smoking was in one study linked to about 1/3rd of conjoined pregnancies, and in a similar case of conjoinment to the boys, one of the twins had lost an eye and had a prosthetic, but with minimal scarring because of the surgery being done in an actual legal hospital. It’s not about God taking anything, or about which is a little monsted and which is a very good boy- it’s about Trudy and Victor both messing up from the very beginning and causing the boys losses, then refusing to take accountability for it. Or, in the symbolic sense, to just do the right thing and turn a damn bowl of cheerios towards your blind kid.

[cosmicjoke]

Levi never Glorified Violence and Never needed to be Taught a Lesson that Violence is Wrong:

Nothing makes me want to rip my hair out more than when I see clowns saying Levi was "blinded by revenge" over wanting to kill Zeke, that he was "too violent", and that's why he got blown up by the thunderspear.

It's such a deeply, fundamentally WRONG understanding of why Levi wanted to kill Zeke, and also, of why he ended up getting blown up. I've already spoken about the strategically sound reasoning behind Levi's actions, which you can read here, if you're interested: https://www.tumblr.com/cosmicjoke/746918499422781440?source=share But to summarize, Levi hooking Zeke to the thunderspear made perfect, logical sense within the context of Zeke's own actions and behavior up to that point. Zeke was someone who until then had engaged in tactics of deception and double-crosses, who had only killed others while at a safe distance and within the cocoon of his Titan form. Decidedly the actions and behavior of a coward. Levi had no, good cause to suspect Zeke would be willing to blow himself up to also take Levi out, and so his reasoning that the thunderspear would act as insurance against Zeke escaping while Levi was preoccupied with driving the cart back to the capital was a reasonable and logical conclusion for him to make. It wasn't a decision blinded by rage or an action taken in hast. Just like it was reasonable for Zeke to assume Levi would rather die than cut down his own comrades, because he knew of Levi's compassion. Both of them underestimated each other, and both of them paid for making assumptions about the other.

But further to the point, this whole idea that Levi was being "punished" for his violence is the stupidest shit I've ever seen. Because it basically posits that Levi glorified violence, and so needed to be "taught a lesson" that violence was wrong, when he's the one character in the story who NEVER did that. He never reveled in violence, he never tried to frame it as something good or desirable, or even tried to justify it. He always spoke about and treated violence for what it was, a means to an end and nothing more. He never tried to moralize it or excuse it. He was always completely objective about it.

Compare, for example, the matter of fact way Levi explains violence and killing to Armin and Jean, versus how Zeke frames his own actions of violence. Zeke calls his murder of people a "mercy". He frames it as a positive action which results in a positive, better outcome. He has a totally warped view of killing and violence because he tries to justify it and moralize it to himself and others. He tries to frame his violence as something which makes him a hero. Levi does no such thing. He tells Jean and Armin that he doesn't know if it's right or wrong to kill, only that if Armin hadn't killed that MP, they would all be dead, and that Armin can't go back to the person he was, because he's now taken human life. He isn't justifying it, or moralizing it, he isn't trying to spin it into something positive or good, or even into something bad or wrong. He's simply stating an objective truth and then telling the 104th that they need to make their own choice about what they believe is right and wrong in any, given situation.

Or compare the way Levi approaches torturing Sannes to how Hange does. Hange goes into that situation gung-ho at the idea of torturing Sannes, because she wants revenge on him for killing Pastor Nick. She thinks she'll enjoy torturing Sannes, and attempts to enjoy it by taking it to an extreme, only to realize she's getting no satisfaction at all from her cruelty. By comparison, Levi never does or even attempts to take pleasure in the act of torture. He approaches it as a means to an end, something he has to do in order to obtain the information they need to overthrow the current government. There's no justification in his mind, no excuse he tells himself to make himself feel better about it. He already knows it's horrible and ugly. He already understands perfectly the wretched reality of violence. Again, he's the ONLY character in the story who does, from start to finish. It's why Hange is so rattled and upset after torturing Sannes, because she thought it would be fun, only to learn it was anything but. Levi never thought it would be fun, he never expected it to be, never wanted it to be, and he never tried to convince himself that it was anything better than what it actually was. It's why we see his shocked expression when Hange engages in unnecessary cruelty by ripping one of Sannes' teeth out. He's always been the most objective character when it comes to violence. He's never labored under any belief that his violence made him a hero, and he never tried to glorify violence to anyone or told them they were heroes for killing.

It's also why Yelena says to him what she does, during the final arc, and the battle at the docks. Because she knows that he knows, better than anyone, the inherent violence of the human condition and the ugly reality of it. Yelena is trying to again push her fanatical belief in Zeke's antinatalist philosophy, by pointing out that people are always going to kill and be cruel to each other, and she makes the point to Levi specifically, because she knows Levi is the only one who'd already long ago understood and accepted that truth.

So this idea that Levi is this ultra-violent, revenge-obsessed lunatic that needs to be taught that "violence is bad" is fucking moronic, and I am SICK TO DEATH of seeing people perpetuate that bullshit take. I want to tell everyone who does to just shut the fuck up already, because they're actively damaging the perception people have of Levi's character every time they spew that garbage.

[maddy-k-reads-all-day]

Okay so here's my current take on Wooly:

Child actor, a bit older than Amanda but only by about 3 years max.

Worked at Hameln longer than Rebecca, not excatly loyal to them, just terrified of what's gonna happen if he is disobedient. Like he doesn't seem to agree with their values at all.

Bottles up every negative emotion. He doesn't want to remember his past as a human.

He is starting to become more rebellious over the course of the second game and is slowly repairing his relationship with Amanda.

Will avoid talking about uncomfortable subjects at all costs. Tends to be a bit controlling.

His intentions are good. But let us remember what they say. The road to hell was paved with good intentions. 🫥😬😬😬

Also, he seems to be that one goody-two shoes friend in a friend group that's like: "We shouldn't do this." Even if it's objectively not that bad.

And while I'm at it. Current take on Amanda:

Rebecca Colton. Obviously.

Had morbid interests as a child long before Hameln. Girl could read off Jack the Ripper's crime record with no hesitation without even being ASKED. She enjoys watching the cat hunt and finds death amusing on multiple occasions, such as silly Mr. Fox, when she says a hunter will shoot the bunnies little ears off, etc.

As Rebecca, she was genuinely a ray of sunshine to be around. (Even with morbid interests).

Secretly has a dark sense of humor

Very adventurous (obviously the show was based around that)

Loves to draw (we see it multiple times).

Has had past trauma before Hameln even entered the picture (Sam's despite what she's been through in reference to her adoption).

In the second game she seems to be trying really hard to control her temper for us, maybe to keep the demon from hurting us?

Girl had some level of interest in goth/emo/punk clothes. I mean, that one picture of her just gives off such a "if the kind goth girl working at hot topic was a 5 year old" vibe if that makes ANY sense. Obviously the clothes available at that age wouldn't be full on goth anyways.

She's starting to act more and more like Rebecca

She doesn't resent Sam.

She wants out of this hell that is these tapes even if it killed her. (I feel like it's indicated in the butterfly scene. If we can help the butterfly, it flies away. If we can't, Amanda says: "It's suffering" and puts it out of its misery). I mean, hypothetically, she's already dead, so it would be more like putting her soul to rest/at peace. Everyone she loved is dead as far as we know. She'll never have her childhood back. And her chances of ever having a life at all are very slim. Still, she wants out. And I don't blame her one bit.

[albinokittens300]

!Spoilers Under The Cut!

A/N: SO...been a minute since I wrote fic but. Made sense since I have ideas floating around might as well write and share them. Please note not only am I rusty writing in general, this is my first attempt at these characters. Be gentle on me please XD. I do hope you all enjoy. Let me know what you think, and maybe I'll try and get another one out maybe before Act 2 drops this weekend. All this ended up being was a little drabble of a possible reunion between Ekko and Jinx because I need some Timebomb goodness. Isha making an appearance is a bonus! Fair warning I make some wild leaps about what goes on during Act 2, so beware this is based some of my speculation.

He lets it go on for a few turns into different allies before finally stopping.

Ekko knows his little shadow is nothing more than a child, judging by the sound of the sets on the stone and the occasional clang of metal being kicked or tripped on. He usually wouldn't be worried- but with no one chasing after and taking her back to where she belonged, he took it as the sign it was. To follow him so far means she is all alone. Having just gotten back across the bridge, helping an orphan wasn't something on the list of deep concerns. At least, not until it needed to be.

"As quiet as you are, I have to say it'd be easier to get around if you weren't hiding." He says softly. Light brown eyes peek around the corner, playing at being undercover without actually doing so. She is hard to make out in low and greeish light, but he manages. "You can come out. Not gonna hurt you. All safe, I promise."

His hair raises, though, when her gaze flicks back to where he can't see. By all appearances, she is getting permission. So the girl isn't alone. When she takes a few steps out, he tries to remain unsuspicious.

"Whose behind there?" He asks as he kneels while she approaches.

"Definitely not who you're expecting." A darker, familiar voice speaks.

Jinx hasn't even revealed herself before the instinct takes over, and Ekko grabs the little girl and puts her behind him.

Attempting to pull her away from the known danger sets off another problem, though- the little girl reacts as if she has been burned. Letting out a cry, she wiggles away from him quickly before running back and wrapping herself around Jinx. While she removes the hood of her cloak, revealing a far too proud smirk, another arm wraps around the kid's shoulder. His eyes quickly scan her other side. A few bombs are latched there, but no pistol or any of her bigger toys. It was not a situation he loved, but it was preferable to facing down a minigun.

When Ekko's eyes return to the child, he doesn't think someone so small has ever looked at him so frightened. Something screams this isn't right as he watches for a few seconds.

"Relax, this one, I'll admit, has a reason to be a bit jumpy." She says, directing the words at the girl. Then, leveling a look at him. "What was it Vi said you had to say when the two of ya caught up? About looking good for a dead person?"

"That makes three of us, then." He says back. "Wanna explain what is going on down here, seeing as you are my welcoming party."

"Ah, nothing much. War, revolution, infighting, and unifying! All of that. If you are looking for the Firelights, they aren't at the tree. Or what's left of it." She says with a wave of her hand and a shrug. The blood runs like ice at the words and he rounds on her.

"What did you-"

"Woah, woah, I didn't do anything. Those wackos from Noxus? They are the ones who tracked the tree. My only part was helping everyone out." She hisses back. When his face changes, so does hers—relaxing just the slightest bit. Helped them out? Months trapped away should mean nothing surprise him. But it does.

He sees her arms crossed, watching and almost waiting for him to decide how this will go. Deciding to match her lack of hostility, just this once, he looks around to the eerily empty and quiet lanes.

"Guess I got a lot to catch up on."

That brings a less taunting smirk to her face. "Just a bit."

[itsmyfandomandilikeit]

Ok I have gone through all available evidence and I have a prediction.

Look I'm ngl I am watching Arcane for Cait and Vi. I love the show overall but this ship is what I'm most here for, especially after I spent the last 3 years under the assumption that Mel was dead. Glad she isn't. Point is, I really want CaitVi/Violyn/Piltover's Finest to be handled well, and I pay a disproportionate amount of attention to what happens with these two.

After watching the first arc of season 2 the other day, I was trying really hard to ignore the ending to episode 3. I didn't like that Cait hit Vi in the stomach and abandoned her in a pit after being all classist at her, but I thought, this is Arcane. Arcane is the greatest fucking thing I've ever seen, of course they're gonna find a way to make this work. But that made me think of it as a puzzle. How could they possibly make this work?

Option one, Cait sucks now and she and Vi don't get back together. I don't think this makes sense, because of the brand. CaitVi is a popular ship that just about everybody likes. A huge amount of the hype for this season before the trailers came out was building up assurances that don't worry, CaitVi is happening and it's not gonna be ambiguous. Take this teaser from like two weeks after season 1 ended, a couple of Valentine's Day icons, and one million tweets from Amanda Overton. Why the fuck would they make this season be about Cait and Vi not working out? It simply doesn't make logical sense.

Ok, so we're starting from the assumption that Cait and Vi have a happy ending that makes people feel like they should be together, and continue to want to play as them in the games and buy merchandise. That means they either explicitly get back together, or it's so implied there isn't much of a difference. My money is on zero ambiguity. Vi is the main character and Cait is maybe #3 or #4. Ambiguity about their ending would just look like a weak writing choice and they didn't know what they're doing. The Arcane writers don't tend to go for wishy washy.

But here's the problem. Domestic violence is bad. It's about the fastest way to guarantee the majority of your audience doesn't think two characters should be together. It would take a herculean effort on Cait's part to make up for that and honestly I still wouldn't believe it. To me, there isn't any kind of act of service that makes up for hitting your partner. Not even ensuring the independence of the nation of Zaun. Add on top of that the over the top hurtful comments about Vi's blood and class. It makes her look very much like, deep down, she thinks of Vi as beneath her. If she meant those things, a relationship between them is impossible. (Not to mention how many teenaged girls I know are watching this, and I don't want them to think it's ever okay to be treated like that, even in a fantasy series.)

So my prediction is this. The only way to make a relationship between Cait and Vi viable again is to render those comments and the sentiment they carry meaningless. How do the writers do that? Imo it turns out later that Cait intentionally came up with cruel things to say to cut Vi loose. She realized that Vi would never be able to kill Jinx, and this new explosion will make the situation aboveground even worse, and Vi still won't be able to contribute to the hunt after this. Vi has no future as an enforcer against Jinx and will probably get treated like dogshit as a Zaunite, so Cait is "breaking her heart to save her", as Tvtropes would say. In Cait's mind, it's better if she's left down here in Zaun.

What evidence do I have for this? It fits Cait's characterization as a genius who thinks quickly and several steps ahead. It fits the tiny animation details we zero in on of her stiffening her trembling lips and furled eyebrows. It un-ruins the most popular canon relationship in League. It allows act 1 to end on massive shock value but roll it back later to show that Cait actually does love Vi, enough to let her go for her own good.

I'm not arguing this is the best possible solution but it's the one I think they're going to go with. Amanda Overton and some others have repeatedly said that CaitVi fans will be happy with the ending to Arcane. Everything about the show(the opening, Netflix Brazil's Twitter account, the story) points to them being the show's OTP except for this one scene. I think Cait intentionally cut Vi out of her life by pretending to be much crueler than she wanted to be, to protect her and, likely, as a form of self destruction.

[thatssolavellan]

Oh my god. I finished. I finished the g a m e

I literally JUST finished. So I'm collecting my thoughts rn but I already have some opinions. Some of them need time, but I already have to say: I now understand why so much solavellans had strong feelings for it, but for me, it was good.

(Some late game spoilers under the cut + English is not my first language)

Overall, I like how they managed the Solas/Mythal relationship. It didn't bother me except for the absence of at least a strong citation about the Well of Sorrows, which looked like a huge choice in DAI, and I think it could be included along the Inquisitor's plot. But it's ok for me, I guess. *shrugs*

I think I understand now why that many people got upset. We had 10 years to invest in those characters, and our headcanons are impossible to squeeze in a game which wasn't even about Solas and Lavellan. So, it was impossible to make sense for everyone since they had only one "Solavellan ending". Leaving to go with Solas wasn't a real choice to every Lavellans. I still don't know if I liked it more because it fits my headcanon like a glove, or if I liked it because it is much less tragic that I expected lol (those words from Corinne saying that it would hurt haunted me). But I really think that it was a fair ending for both of the characters.

And, about the ending of the game in general, my biggest surprise was the Varric thing. I got really angry when he didn't die at the prologue after Solas stabbed him. I hate this Gandalf stuff when a major character dies and comes back like a miracle, just for make us suffer then immediately soothing these feelings. So when I found he was actually dead it was really a plot twist - I didn't even imagine it during the game. Same with the character who died with Ghilan'nain (for me, it was Harding).

I really liked all the new characters and the writing in general. Some bits felt kinda "rushed" for me, but not too much. The quest about Solas's regrets was a great way to put new players into the lore and answered everything we needed about what concerned the game. And I found it really fun, like us people digging around the lore and our wild theories in Reddit and here in Tumblr lol

Anyways. I'm relieved the ending didn't totally destroy the characters or put them in a lot of situations which didn't feel true for them. I trusted the work of the writers since the start, but with so many problems during the development (including the awful layoffs), I expected the worst. And I'm glad BioWare sticked with its expertise. As a fan of ME2, I loved the combat, progressions, maps and everything. And the "cartoonized" art style bothered me in the beginning but I kept my mind open, and now I even like it.

(Still hate Hans Zimmer's OST tho. Doesn't even get close to the toes of DAI and Trespasser OSTs.)

And look at her. She's a fucking looker. House de Riva has only the finest 🧑‍🍳👌 Having Viago and Teia made me rush immediately to the Antivan Crows and I'm not disappointed. Being latina I had my share of annoyance with all the stereotypes, but hey... I also really like coffee.

Lucanis's romance was a downer, okay, but it gives us more room to fanfiction lmao (here we go again). I'll cope with it doing a new gameplay and romancing Emmrich >:)

Dragon Age has a special place in my heart forever and I feared for the franchise. So I'm relieved and happy for being here.

Shout out for all us Solavellans. I remember when I saw people mocking us in the fandom for asking for more Solavellan content in the game. Devs, I love you all. Here's for better days in the future.

I didn't even finish the game yet and I almost threw up of anxiety when I was going to meet my inquisitor for the 2nd time. And since I cannot get off Tumblr I already had several spoilers about the ending. Almost regretting asking for all these cameos with Ellana. Boy I'm SO ��not ready✨ for this

[mgjong]

You can't just make me even gayer for a character and have them "killed" in the same set of songs cmon....

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[sysig]

“It could be that the loss of her children drove the Queen deeper into her darker desires...but, I don’t believe she was fighting against them that hard before that particular tragedy. No monster does.” (Patreon)

Bonus:

Hmm, wonder what he could cover those holes with :3c

[demcnsinmymind]

"Okay" he breathes, not at all sure if she actually means it or if she's just saying that to placate him. The truth is that he cannot quite bring himself to really figure it out right now as he's desperate for any sort of normalcy, any opposite of all that violence. I'm fine, she says. Not dead at least like all the others. Not physically harmed by the looks of it. He'll take it.

Still, he laughs once when she tells him it's not his fault. He guesses that in a way, it wasn't. He didn't pull that trigger, isn't part of that fucking cult, just wants to get the hell away from it all. Still. What a funny thing to say.

"Maybe not the fault, but the reason" he mutters under his breath, shaking his head. "Not sure if that makes it better or worse" he goes on. At last, she's talking more and more again, giving at least some credibility to the fact that she's not utterly wrecked by all this. Can still talk, even makes a lot of sense with it, too.

"I guess you're right" Lance acknowledges, shooting another look outside. At all this fucking desert. Everywhere. Not a drop of water in sight.

"Truck stops...he perks up, looking back at her at last. It's there already. All over again, that thought, that impression that even after all this time, likes to pop up first within his mind. He tries his best not to think it, to ignore it, but the more he does, the more it makes his hitchhiker perk right back up again, too. More than eager to speak it out for him. To make sure that he doesn't ignore the thought, his true self, his true colors.

Useful little thing, isn't she. Like she was made for helping you get back home.

Just for a little moment, he can't help but wonder. Past all the frustration and rage. Lance looks at her in discrete silence. Trying to convince himself that it's fucking ridiculous, but hey, so is the rest of all of this, isn't it? Why stop there. Just what was it exactly, that got them to talk in the first place? And what is it that is keeping her around? Almost eager to be made use of, it seems?

"They probably have cameras though, right? Lot of goods and shady people moving through every day... Fuck. I hope we're nowhere near a border..." As if on cue, he can see a sign in the distance, pointing out the next gas station, with an additional note on when the next truck stop can be expected after. A while, but not too far.

"Beats driving into a town with a cracked windshield and while covered in blood. One of those it is then. Good call" he settles on it at last, sighing when she gives him even more reassurances.

"I know"he says with a sigh, only half meaning it though. He knows that he'll be okay and that he'll figure something out. Always has, always will be. It's her he's more worried about in all of this, and even though he tries to keep that fact hidden from the expression on his face, it's not quite working. Still too shaken from it all, rusty on the acting. Either way, he forces himself to give her a little smile. Says nothing about the rest, leaves it at that. I know.

If there's a surefire way to jolt her out of her stupor, he's found it. The windshield cracks and Miriam flinches. Violently. Like a hare in its burrow, she flattens herself against the backrest of her seat. Wide eyes stare at the split glass. She follows the trajectory of the crack, futilely looking for the impact mark. Part-time shaman that she is, her mind snaps back to the way Matt's hand tore apart in the same way. Suddenly, from inside itself. She compares the physics of it, the arch of the cut. Isn't it the same pattern, the same outward spiral?

The pressure of a presence, of unactualized potential, tightens around her until her ears pop. She feels it on her skin, on some layer just beneath it, the mauve undergarment of her muscles. It radiates from Sean in erratic waves. How had she never noticed it before? Now it is giving her a skull-splitting headache.

He rambles about some plan, some destination. He has neither. Miriam watches him fumble. Yes, God will move in and out of you and give you not a single answer for it. She knows. Something monumental happens and unhinges your life, your very self, and all you can do is stagger through the aftermath, crying for another brush with ecstasy. Sean is staggered, even though it wasn't his hands that held the gun.

He suddenly becomes aware of her in a new way, a bodily way. Like she's been only a shadow until now, the image of a girl. Now he realizes the blood is real. She shrinks beneath its weight, diminished by the feeling of it drying on her skin. He reaches out, then doesn't. She watches his hand flinch towards her and then away. Then there come the apologies again. It's novel, really. No man has ever apologized for making her hold a gun before.

"No, I think I'm fine." She whispers back to him. Lie of the century, but there is nothing more to say. She isn't dead. That's the same as fine. Even if he can't follow through, she believes his concern is real. It softens her. It makes her ache in some place just below her heart. She draws a shuddering breath and scrubs some blood off her cheek with her fingernails. It itches. "It's okay. I promise. I know you didn't mean to. It's not your fault. I know it's not." This feels better, like some semblance of control.

"We won't find a creek deep enough for me to wash myself. And I don't know where we are, if there's any rivers here at all. But- But there's truck stops. Big ones, with showers and all. I used to hide out there a lot. They're not too busy, and we can get a different car." Funny, how quickly the plan assembles in her mind. Like she's just been waiting for this development. No, that can't be.

He can't reach out to her without feeling his fingertips singe off, but she is not so impaired. Miriam's skittish fingers creep over to him, brush against his shoulder. Just for the warmth of it, she promises. Just because no one else is going to touch her now. She is unbearable.

"It'll be okay, Sean, I promise. We can figure something out. We can... We can go somewhere else, maybe."

[captainofthetidesbreath]

one of my favorite parts of speculating ahead of the Veilguard is the number of people talking themselves around and around in the loop of "Illario is extremely suspicious and the most obvious choice for who betrayed Lucanis → However, Illario seems like he genuinely cares for Lucanis and seemed sincerely distraught in The Wake → I know in my heart it must be Illario: there is no one else with means and motive → If Illario did it, I understand why given how Caterina has treated him and them, and he has arguably earned a bit of a villain era → The situation is ultimately caused by Caterina and Crow politics and, again, Caterina → I don't want it to be Illario because I want he and Lucanis to have a good relationship given all they've suffered together → However, there is already an existing bitterness between them because of the succession question and in Illario generally because he's seen as lesser → Illario is the most obvious choice"

[jq37]

What is it that the Rat Grinders actually want exactly? Or at least, what does Kipperlilly want since she's the one we know the most about.

At the top of the season it seemed like she wanted to Be The Best at school and Be Recognized in a very Tracy Flick/Sara Berry kind of way and was just going to crazy lengths to get there because this is a world where you help a dragon kidnap girls so you can be Prom Queen and life goes on. But now we know that the Rat Grinders are a part of Porter's larger plan and one of the major steps of that plan is completely abolishing Aguefort as an institution.

It's clear what Porter gets out of this. He gets to be a god and he gets to continue his imperialistic family legacy. And I would maybe get what Kipperlilly would get out of this is she were the Cleric/Paladin of the plan. She'd get to be the new god's champion, like she was gushing to Lucy. That's maybe worth something to an achievement hunting, Type A individual.

But she's not gonna get to be the best student at Aguefort if Aguefort doesn't exist anymore. Hell, Elmville won't really exist anymore. Is Porter planning on opening a new Adventuring School in Rage Elmville and she gets to be the god Principal's pet? Does she think he's gonna make things "fair" for her somehow? How? Retroactively killing her parents? Does she want to use the powers she cheesed from the easy XP he drip fed her to be a renown adventurer? Kinda hard to pull that off when everyone knows you were part of the plan that doomed the town. Maybe she thought they were going to get away with it without being implicated? Does she literally not want anything other than a chance to kill the Bad Kids? Or even pettier, to just to be stronger than Riz? Is that worth it to her? To damn the whole town just so she can say that she beat Riz once? Did she want something concrete at one point but at this point she's just lost in the sauce and doing whatever the next task is without knowing what she'd even do with a victory if she got it? Did she already get what she wanted in the free XP and now she's just paying her end of the bargain?

I'm just very unsure about what her version of a happy ending is here.

[aroaessidhe]

2024 reads / storygraph

Our Lady Of Mysterious Ailments & The Mystery at Dunvegan Castle

books 2 & 3 in the Edinburgh Nights series

paranormal mystery set in a climate-ravaged future Scotland, plagued by ghosts and magic

follows a 15yo Black girl who’s finally gotten an in to learn scientific magic properly - but it turns out to be an unpaid internship, so she has to take more jobs delivering ghost messages and investigating mysteries to take care of her gran and little sister

in book 2 she’s investigating a strange illness centred on a magic school for boys

and in book 3 she’s attending a global magician conference held in a creepy castle - when someone’s murdered, and they’re locked in until she figures out the culprit

Zimbabwean magic, friendship, disabled characters, no romance (so far)