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strawberrystar7 · 3 years

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I think People misunderstood Chloé's arc and the season 3 finale (and especially Chloé's role in it.). And here is why I think that.

This is a really long post and I know it's hard to keep reading something as long as this but please, I ask you, either do not read it at all if you don't want to read something like this or read it completely. If you do decide to read this but stop in the middle because you want to comment on something I ask you to not do that. Please read all of it thoroughly. If you want to comment on something, take notes but don't post it before having read all, because if you do not read all you probably won't understand it correctly. Additionally, some things might have been answered later on in the post.

I think the true lesson the writers wanted to give with Chloé's arc and especially the Season 3 finale is that it's good to be forgiving and give second or maybe even 3rd chances but you shouldn't try and help someone who doesn't want to change. There was a time where she maybe wanted to change... I put the maybe there on purpose. This is because if I look at Chloé's behavior it isn't entirely clear if she ever wanted to change because she wants to help others or if she just wanted to "change" so she can have the Bee Miraculous.

Chloé's arc in actuality was a treason arc. It wasn't a redemption arc. On the surface it may have looked like one but if you look deeper I think you'll see the signs.

I know I am gonna get hate for saying the next bit but if you look closely (and I mean very closely) at Chloé's actions then you'll see what I mean. In season 1 Chloe was a stereotypical bully. In season 2 she actually got a backstory, explaining her actions. It basically made her look more like a real person. But even so her actions didn't really change. She stayed a bully. On surface level her actions did change a little, but on a lower level they didn't.

What do I mean with that? Take Despair Bear as an example she threw a party and invitated all her classmates. In itself that's a nice action but do you remember the reason why she threw the party? Adrien threatened to break up their friendship if she wasn't nicer to people. So her Butler Jean gave her the idea with the party and that she should be nice.

Yeah, I know this happened before the Queen's Battle trilogy (I know it's actually just a 2 part episode (Style Queen and Queen Wasp) but I count Malediktator as a 3rd part because it pretty much is a direct follow up to Queen Wasp.) but this is supposed to serve as an example for Chloé's behavior in season 2.

Now look at Zombizou. Chloé gave Miss Bustier a present the day after her birthday. Do you remember why this happened? Marinette called Chloé out for not having brought one and pretty much embarrassed her infront of the class (I know the way she called her out was mean but that's not the point here). In the end Chloé most likely would never have brought a gift if this didn't happen.

I think this Episode also came before the Queens Battle trilogy but I'm not sure. Anyway even if it was before, it still shows how Chloé behaves most of the time when she does good things.

Now let's look at the Queen's Battle trilogy. In the Style Queen episode we see for the first time how Audrey treats Chloé and while it does explain why Chloé does what she does it doesn't mean her actions are excusable. It makes her actions understandable to the viewers and it makes her, as already mentioned, look more like an actual human being. In that episode we do not really see any more about Chloé and her past or actions besides her finding the Box with the Bee Miraculous.

After that Queen Wasp follows. In this episode the first scene where Chloe plays a rather major role is the scene with Gabriel Agreste, Audrey Bourgeois, André Bourgeois, Tom Dupain, Sabine Cheng, Adrien Agreste, Marinette Dupain-Cheng and of course Chloé Bourgeois. In this scene we see Audrey taking Marinette's feather hat after it rolls infront of her. She inspects it and remarks that it isn't Gabriel's. She then asks if Marinette is responsible for the hat, which Marinette replies to with her having created the hat. You know the rest Gabriel admits she won a fashion contest, Audrey remarks the hat is "exceptional", and then she asks Marinette if she wants to go to New York. That is where Chloé comes in, claiming to never having been in New York. She also asked why she was taking Marinette. Audrey replies with Marinette being "exceptional". Chloé then says that she's "exceptional" too. Audrey then says the following "The only exeptionial thing about you, my dear... is your mother.". I think you know the rest André tries to step in but is interrupted by Chloé who transforms into Queen Bee infront of everyone to proof that she is exceptional.

This wasn't simply to prove her mother wrong tho. She did it to prove to everyone that she's exceptional and her behaviors later on that episode prove that exact point. Queen Bee then disappears.

The others go home and Queen Bee looks around the city to see if there's anything she can do but doesn't find anyone who needs saving. She then thinks of that plan with the train and calls Nadja Chamak to gain publicity for her heroic deeds. As already mentioned this pretty much proves my point. If she really jzst wanted to prove Audrey wrong then why call in one of Paris's star reporters?

After the call she heads towards the metro. She runs on the side of the metro and enters the driver's room. She then Calls out her venom and numbs the driver. The metro speeds up and Queen Bee turns on the metro TV saying she'll save them (this pretty much was to gain even more publicity). Queen Bee isn't able to stop the metro and Ladybug and Cat Noir come in to help stop the metro. Ladybug calls Chloé out for numbing the train driver and Nadja Chamak comes with Audrey Bourgeois on a live call. Audrey then says the following "What? Regarding my daughter's ineptitude? I think it speaks for itself, doesn't it?". Ladybug asks Chloé to give the Miraculous back but Chloé keeps it and runs away with it. Queen Bee then gets akumatized before she transforms back causing her to turn in Queen Wasp. I don't think it's important to mention what happened while she was Queen Wasp because in this case she wasn't willingly akumatized just like Antibug which also means she wasn't herself unlike Chameleon and Miracle Queen who both were willingly akumatized and both kinda knew what happened while they were akumatized.).

When she gets deakumatized Marinette later comes in and tries to help fix Chloé's and Audrey's relationship (atleast as much as it can be fixed) by pretty much insulting both of them and saying "You're also wrong about your daughter not being exceptional. In fact, Chloé is exceptionally mean. She's the worst person I've ever met. She may be more heinous, pompous and selfish than you. Compared to both of you, even a rock seems more capable of love.". Chloé and Audrey then pretty much shout at the same time "How dare you⁈". They then see they do have a lot in common. The episode then pretty much ends after 2 more short scenes (both scenes do not have anything to do with Chloé so I don't think they are important.).

Now let's look at Malediktator. The episode starts with Chloé's documentary about Queen Bee where Chloé-Bee and Chloé-Bug (I'm gonna call her that because that's Chloé with a Queen Bee costume and Chloé with a Ladybug costume) talk about how great of a superhero Queen Bee is. Then it zooms out to reveal that the documentary is watched by Chloé's classmates.

Ivan then points out that isn't Ladybug. Chloé says it is Ladybug and Miss Bustier asks why Chloé did the assignment about herself.

Chloé then says they were supposed to choose an important person in French history. Chloé-Bug talks more about Queen Bee. Alya then points out that's Chloé with a Ladybug costume. This discussion goes on for a bit until Chloé leaves.

Chloé and Audrey then storm in to André's office while a pair is getting married. They force them out and Audrey tells André to close the school while Chloé tells him to ban Marinette and her family.

Audrey then says the following "That monster hurt your little girl’s feelings.". Chloé adds "She got the whole class to gang up on me. They all have to pay.". You probably know the rest. André says he can't do that and Chloé and Audrey leave him alone in his office and say they'll leave for New York. Chloé is then in the Bourgeois suite packing (or more like telling her Butler to pack for her.) André comes in to argue with Chloé and Audrey to stay in Versailles or near Paris.

Hawk Moth akumatizes André after Audrey and Chloé leave with the helicopter.

Chloé flies over the school with her helicopter, throwing flyers showing Chloé in front of the statue of liberty and saying she'll leave for New York. The students celebrate after Chloé leaves.

Malediktator stops the helicopter and says he has the power to close the school and banish the students who were mean to her. He then commands Audrey to be devoted to him and stay in Paris. Chloé runs away/hides. Some time passes and Ladybug goes to Chloé asking her why Malediktator is mad.

Chloé doesn't want to say at first and blames Marinette, then saying André got mad all by himself but then she admits to being the cause of her fathers akumatization.

Then this happens:

Ladybug: Because of what happened in school? I'm sure Marinette probably didn't exactly mean what she said.

Chloé: Oh, it's not just her— actually, I don't even care about her— it's because I have no reason to be here: nobody likes me; I have no friends. I'm… useless.

Ladybug: (remembering what Adrien told Marinette earlier at school about Chloé) A friend once told me: nobody is useless, Chloé.

Chloé: It's easy for you to say that. You're Ladybug, a superhero. You serve a purpose.

Ladybug: Yes, I can fix up all the messes. You said it yourself in your documentary.

Chloé: (gasps) You saw it?!

Ladybug: (nods) Mm-hmm.

Chloé: Oh! I'm so embarrassed. That film's ridiculous. Utterly ridiculous. I realize that now.

Ladybug: Don't worry Chloé. You can fix your own messes, if that's what you want. You, too, can serve a purpose, but you have to want to.

Chloé: (sniffles) I do want to.

Ladybug: Chloé Bourgeois, (holds out the Miraculous box) here is the Bee Miraculous, which grants you the power to immobilize your opponent. You will use it for the greater good.

(Chloé hesitates; Ladybug nods approvingly; Chloé takes the box and opens it; a yellow ball of light flies around her and Pollen appears.)

Pollen: At your service, my Queen.

Ladybug: Once the job is complete, you will return the Miraculous to me. Can I trust you, Chloé?

Chloé: (puts the haircomb in her hair) I won't disappoint you this time, Ladybug.

Then Chloé transforms into Queen Bee.

Queen Bee and Ladybug (with the help of Cat!Cat Noir) defeat Malediktator.

Then this happens:

Ladybug: Yep, you missed Queen Bee and Ladybug saving Paris, for real this time.

Queen Bee: I understand, Ladybug. Buzz off. (transforms back into Chloé)

Chloé: (gives back her Miraculous) Being a superhero isn't only about fixing messes. (Ladybug holds up her hand in a fist; Chloé gasps and smiles)

Chloé and Ladybug: (fist-bump) Pound it!

After that Chloé and her family leave.

Then this happens:

Chloé: It's okay, Jean-Yves; I'll take care of it.

Butler Jean: Mademoiselle, are you sure?

Chloé: Yes, I need to do it myself.

Marinette: Chloé?

Chloé: (gasps) Dupain-Cheng?

After that Marinette brings Chloé to the school showing her they threw a party for her. That's pretty much how the episode ends.

I guess this is the episode (Malediktator) that convinced everyone Chloé was changing (and maybe at this point in time she truly did want to change. But I'll explain later on in the text why it did not work out.). After all it literally showed scenes where Chloé was nice without her benefitting from it. And honestly the earlier episodes did not show that Chloé was going to change. The earlier episodes gave depth to her character and kinda explained her actions but they didn't really make her look like she wanted to change. The end of the Malediktator episode tho? It did look like she wanted to change or atleast it made it seem like that. But as I implied Chloé's arc is way more complicated than you think. It can't be just written of as bad or inconsistent writing. Read more and you'll see exactly why this isn't just inconsistent/bad writing.

I don't think we saw much of Chloé in the season 2 finale besides her appearance as Queen Bee again. But honestly I do not remember much about the season 2 finale anyway.

Now let's look at season 3. (I just remembered I forgot about Animaestro. I forgot where in the season that happened but I just put it in the beginning because I feel like it would ruin the flow of the text.) In Animaestro Chloé literally teams up with Marinette to ruin Kagami's day (This was just to show that Chloé still did stuff like in season 1). Anyway, not only is it pretty clear that Chloé would love to be Queen Bee again but she also probably would do anything to be Queen Bee again. So she constantly asks for her Miraculous (seen in Startrain and other episodes) or she pretty much shows everyone how proud she is of being Queen Bee, seeking attention for that (Maledikator). In Miraculer Chloé waits to get her Miraculous but doesn't get it. Then Lila tells Chloé about a fake dance which summons Ladybug. Chloé gets really angry when the dance failed and then lashes out at Sabrina telling her she doesn't want to play with her. Chloé then breaks down after not getting the Miraculous for some time, resulting into the scene where Chloé resists getting akumatized. Instead, Sabrina is the one getting akumatized. Some time later a cataclysmed Cat Noir tries to give Chloé the Miraculous but because of his cataclysmed rips he ends up loosing the Miraculous to Mayura.

You probably know the rest. Rena Rouge makes a Chloé illusion in Ladybug's place, Ladybug gets her powers back, Chloé makes Miraculer even angrier, Ladybug (with the help of Cat Noir, Rena Rouge, Carapace) gets the Bee Miraculous back and gives it to Chloé. Chloé follows Mayura but looses her. After the fight Ladybug talks to Chloé.

This happens:

Queen Bee: Ladybug. Mayura got away from me. I'm sorry, utterly sorry.

Ladybug: That's okay, Queen Bee. We'll get her next time. (reaches hand out for the Bee Miraculous)

Queen Bee: If you'd given it to me earlier, we'd probably would've defeated Hawk Moth.

Ladybug: I'm sorry, Chloé. I should've told you this a long time ago. I might never be able to let you be Queen Bee again.

Queen Bee: What? But I did everything you asked me to.

Ladybug: I know. But this is for your own safety. It's too dangerous for you and your loved ones because Hawk Moth knows that you're Queen Bee.

Queen Bee: Buzz off. (turns back into Chloé and gives Miraculous to Ladybug)

Chloé: I understand. But I'm sure that you'll need me again, Ladybug. I know that I'll be Queen Bee again someday. I will always be Queen Bee.

Ladybug: (notices her Miraculous beeping) Thank you, Chloé. Let's go. (takes off with Rena Rouge and Carapace)

Despite saying that Chloé said she understood she can't have the Miraculous anymore she did not understand.

I know one of the arguments people have was that if Ladybug stayed longer to explain more thoroughly Chloé would have understood. But what do you want Ladybug to do? Risk her identity? She was on her last 5 minutes. Probably less considering how a couple minutes probably flew by from the moment she called out her lucky charm to the moment she called out Miraculous Ladybug. So probably 2 or 3 minutes were already gone from her timer. Additionally, she still needs atleast a minute to not risk her identity getting revealed while she takes Rena Rouge's and Carapace's Miraculous. There was no more time to spare. Despite that I don't really think Chloé would have understood even if Ladybug had more than 2 minutes to spare. Not with how self-centered she is.

Well there had been some smaller incidents with Chloé treating people badly (Animaestro fo example) but that aside those were small moments. I think the next big Chloé moment would pretty much be Heart Hunter and Miracle Queen. Heart Hunter proved that Chloé did not learn from what Ladybug said. She still waited on her rooftop with her Bee signal for Ladybug to come and give her the Miraculous. In the end of the episode we see her so angry at Ladybug for not giving her the Miraculous that she willingly worked with Hawk Moth and actively forcing her will onto Pollen.

This is what happens:

Hawk Moth: (puts up his hand and interrupts) You're right, but I did it for one reason only. So that you would finally realize that Ladybug will never give you the Bee Miraculous again. I, however, always keep my promises. (shows her the Bee Miraculous in his hand)

Chloé: This isn't real! How do you have it?

Hawk Moth: Try it and see for yourself. You're Ladybug's greatest fan. You've helped her, you've trusted her, and what has she done for you in return?

Chloé: (gets angry) Nothing! She couldn't care less about me! I'm done with her. She's irrelevant, utterly irrelevant! (reaches out to grap the Miraculous, stops) I want you to deakumatize has my parents first!

Hawk Moth: Whatever you say, my queen. (Chloé takes the comb and puts it in her hair, releasing Pollen)

Pollen: (urgently) Your majesty, wait!-

Chloé: Silence! You will speak only when spoken to. Your loss, Ladybug. Pollen, buzz on! (transforms into Queen Bee)

She then gets willingly akumatized.

In Miracle Queen we then see her actively work for Hawk Moth, even revealing all the Miraculous Holders. After she gets deakumatized she seems to still have her memory, considering how she wasn't disoriented like every other Akuma Victim. She even jumps after another Akuma.

Chloé also does and says the following "I'm not on your side anymore! How many times have I asked to fight alongside you? And how many times have you refused to give me back my Miraculous? How many, huh? Hawk Moth isn't my enemy, he's yours! And the Miracle Box is mine! (Queen Bee slams down the Miracle Box, and opening it, starts putting on all of the Miraculouses)".

This pretty much proves my point further. Chloé never let go of the Bee Miraculous, thinking it was her own and she had every right to obtain it whenever she wants. The fact that she's only concerned about getting the Miraculous even proves further that she doesn't really care about helping others. All she cares about is her self and as established before this had always been the case. Even in the Queen's Battle trilogy.

Think about it. Chloé is so deadset on keeping the Bee Miraculous that she would do anything. And if I say anything I mean anything. She literally worked with Hawk Moth to get the Miraculous. So if getting the Miraculous and all the attention that comes with it means that she has to help others she'd gladly do it. If helping others means she gets attention she'd gladly do it. We've seen it in Despair Bear and other episodes. Ladybug used to be Chloé's idol so to get her attention she pushed the mind controlled Cat Noir away. To get Adrien's attention she threw the party and was nice to the others. But the moment people didn't look she acted mean. This isn't even the only season 2 or 3 episode this happened. It is totally in character for Chloé to have reacted the way she did in the season 3 finale. Just because she turned bad again doesn't mean she's a 2 dimensional character. She still has the same backstory and all as she had before. The only difference here is that she openly worked with Hawk Moth. So why is she suddenly a horribly written character? Just because she worked with Hawk Moth?

Well let me tell you something: Just look at her relationship with her father. He never denied her anything. He always did everything she wanted. She would throw a tantrum if she doesn't get what she wants. So don't you think it's totally in character for Chloé to react the way she did when Ladybug refused to give her the Miraculous? It's the equivalent to the tantrum of a spoiled rich girl (or boy) would throw if they don't get what they want. The only difference here being that a magical terrorist pretty much took advantage of that tantrum.

As you can see the way she acted was not out of character. It was completely in character for Chloé. In fact, it was so in character that if we've taken the time to truly look at her then we all would have seen it. I gotta admit, I myself got completely deceived the first time I watched Malediktator and Miraculer. I myself thought, maybe she could change (and I still think so). The first time I watched Heart Hunter and Miracle Queen I also thought it was bad writing and I also hated that finale. I thought they did her dirty. I literally blamed the writers like all the others and stated on YouTube how bad of a Episode that was. But now? Now that I actually took the time to rewatch the Episodes (not just the finale but generally any episode) over and over again just to see all the small details people talked about that I never noticed, I noticed those details about Chloé that I didn't before.

People always claim the finale is horrible because they made Chloé out of character... but... In fact, the Season 3 finale is actually good. It may have some plot holes because the writing of the show honestly sometimes isn't the best. There's some episodes that are badly written and have loads of plot holes. But the season 3 finale? It might just be one of the better written episodes. And that only because of the fact that they sticked to how a girl like Chloé would actually react to getting told off like that. And I know for a fact that girls as spoiled as Chloé would react like that because I met a fair share of people like that. They all threw a huge tantrum when they got told off.

Don't get me wrong, I am not saying Chloé doesn't have the potential to change. Infact, she definitely has the potential to change. But not like this. Chloé needs to hit rock bottom before she can actually change. And no, getting told you can't have the Bee Miraculous anymore is not rock bottom. The first thing that needs to happen is for her father to stand up to her. And as seen in (⚠️Season 4 Spoiler warning⚠️) Queen Banana André finally did stand up to Chloé. If he keeps that up that might be good start (⚠️End of Spoiler⚠️). After Chloé doesn't get everything she wants from her father anymore there's two things that can happen: Either she becomes a complete lost cause and doesn't learn anything from it or rather she doesn't want to learn or she learns that not everything will always go her way and that she can't have everything (specifically the Bee Miraculous, as you can't buy it.). This also might cause her to become less selfish and start thinking more about the others. Even if that doesn't happen maybe Zoé (because she's Chloé's half sister) or Adrien (because he is/was Chloé's childhood best friend and would love to help her) could come in to help Chloé become less selfish. But again for that to happen Chloé first needs to learn that not everything goes how she wants it and she can't have everything. And again this won't happen if everything is handed to her like it has been all these years.

Please understand that I am not hating on Chloé. Chloé may even be one of my favorite characters for the exact reasons I mentioned here. Because even tho she's a stereotypical bully she has depth to her character. And if she'll ever truly change she'd might just become one of the more relatable characters in the show.

And I know I am none of the writers so I do not know what they thought while writing the finale and the rest of Chloé's arc but to me this seems like the most logical explanation. I do not think the writers hate Chloé. That just makes no sense. They have developed her past and backstory and stuff like that way too much for them to hate her. If they truly hated her I don't even think they would have developed her character like that. If they truly hated her they would have left her like Lila with little to no information about her past or basically anything that explains her actions.

So please, I ask you please do not harass the writers for their decisions. Just please for once try to understand their thought process. Maybe you just didn't truly understand what they meant because as I explained Chloé's arc was deceiving. On the surface it looked like a redemption arc but truly it wasn't.

I am not claiming to have fully understood what the writers where trying to say but I do think I got close to what they were trying to say. I am also very sorry if I might have not been able to explain some of the points well. While I did rewatch every episode while writing this I did not want to put in every single episode (which might have gotten my points across even better) as the post has already gotten way too long. Not many people like to read much so probably only a few will even have read this completely. But to those who did take the time to read it all, thank you for having taken the time. I'd really like to hear your opinion on my take on this topic. Because while I do think this might be somewhat close to what the writers where trying to do it most likely isn't exactly what they wanted. I'd really like to hear your opinion on my take on this topic. Because as I said while I do think this might be somewhat close to what the writers where trying to do it most likely isn't exactly what they wanted. Maybe some of you have something to debunk or maybe even strengthen my points. Both is fine as long as everyone's nice towards each other. I do not want to see some kind of war. So please be kind towards each other.

#miraculous #miraculous ladybug #miraculous tales of ladybug and chat noir #chloé bourgeois #heart hunter #miracle queen #mlb fandom #miraculous analysis #mlb #mlb analysis #chloe salt #mlb season 3 #miraculous season 3 #miraculous season 2 #malediktator #queen wasp #style queen

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cosmicjoke · 3 years

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Ah, chapters 113 & 114 of AoT, and I’ve only got one thing to say.

Zeke, am I supposed to be feel sorry for the bitch? Well I DON’T.

No, seriously, fuck this guuuuuuuuy, I know I keep saying it again and again, but God damn, if these two chapters didn’t just solidify my hatred for the bastard.

First of all, he is just... the most whiny, delusional, self-pitying pathetic loser, just... he really is. I feel like a character in a Peanuts comic strip every time he opens his mouth. All I hear is “whaa, whaa, whaa”. And his delusions of grandeur would almost be funny if they weren’t so pathetic.

Here’s the thing, alright, and I’m sorry if I’m going to offend any Zeke fans with what I’m about to say, but too bad, I guess.

Everything out of this shitheads mouth is a lie. And just because he’s convinced himself of his own bullshit doesn’t make the lies coming out of his mouth any more true.

He turns Levi’s fellow soldiers into Titans. He does this without remorse. Don’t try to tell me Zeke felt bad about it. He didn’t. You know how I know he didn’t? Because in his private moments in the immediate aftermath, he mocks Levi over having done it, gloating about his supposed master plan of using Levi’s compassion against him and utilizing it to ensure Levi’s own demise. Zeke’s entire attitude here is sickeningly unbothered, unburdened, uncaring, and smug in the EXTREME. He mocks Levi’s compassion, literally makes fun of it and lambasts it as a pathetic sign of weakness when he says “I know you’re a caring leader. Your soldiers haven’t done anything wrong. They’ve just grown a little bigger. You wouldn’t, say, slice them to pieces over that, would you?”. This is Zeke making fun of the fact, finding AMUSEMENT in the fact that he’s just murdered 30 people who have never done a single thing to him, and reveling in what he thinks is a victory that will lead to Levi’s own death, reveling in having taken advantage of and weaponizing a better man’s kindness and compassion. Zeke is ENJOYING this moment. Just like he enjoyed killing all those soldiers in Shinganshina. And then, the kicker, and this is a particular point about Zeke that just makes me absolutely sick, he pretends to himself as if he didn’t want to do it. He PLAYS at his own regret, saying, “I didn’t want do this either,” and yet in the very next breath, continues to treat what he’s done with grotesque flippancy, saying “Still, how sad... There wasn’t even a battle or skirmish.” Gloating over how easily he’s bested Levi and his men, before going on to sink further into his insane delusions of grandeur, blaming their inability to trust one another on Levi’s inability to “understand”. I’m sorry, Zeke, but no. You didn’t even TRY to help Levi understand, too wrapped up in your own egotistical god-complex to consider it a possibility. ‘Oh, only I could possibly understand, along with Eren, the great task we two special beings have been burdened with. He makes assumptions about Levi’s life, about the kinds of things he’s seen and experienced, and convinces himself that they couldn’t be anything like what Zeke has (which, hilariously, is all wrong, since out of everyone, Levi knows better than anyone else in the SC what it’s like to be treated as a second class citizen). Zeke just assumes Levi couldn’t possibly ever grasp the complexities of the outside world, and so that’s why Zeke didn’t even bother trying to talk to him. Blah, blah, blah. No, Zeke, you didn’t share your stupid ass plan because you wanted to continue to feel special, like you’re the chosen one who gets to decide the fate of an entire race of people. The most hilarious part of this entire sequence is when Zeke is thinking Levi couldn’t ever understand the concept of all the world’s militaries bearing down on Paradis at once, and what that means, couldn’t grasp the urgency of the situation, as if ZEKE HIMSELF isn’t completely fucking responsible for that situation in the first place. Zeke literally engineered it. He created the problem, and now wants to position himself as the savior. He’s just such a loser man. The God damned definition.

And as if all of that wasn’t bad enough, when it turns out Zeke’s plan to take Levi out failed miserably, and Levi comes after his sorry ass like a bat out of hell, Zeke continues to mock Levi, to laugh at what Levi’s just had to do in order to survive and pursue Zeke. He says “Where’d your adorable little men go!? Don’t tell me you killed them all! The poor things!”. Are you fucking serious? Zeke’s behavior here is one of the most sickening things in the entire story, bar none. The way he laughs at Levi here for having to cut down 30 of his friends and comrades, the absolute display of sociopathic glee and disregard for the severe, horrific trauma he’s just caused this man, is honestly shocking. Man, I’m sorry, but anyone who sympathizes with Zeke over Levi after this display maybe needs to reevaluate their moral compass, because it’s damned broken. And just as an aside, Zeke’s cowardly fear of Levi is also pretty damned funny. He’s just such a bitch./

We go from this perverse display of psychopathic megalomania into Zeke’s backstory, and again, I’m sorry if I’m gonna offend any Zeke fans here, but to all of that, I ask, so effing what? Oh, boohoo, Zeke’s mommy and daddy didn’t shower him with praise or spend any time playing catch with him, and somehow, I guess, this is meant to excuse his attempts later in life to commit mass genocide. Poor, poor Zeke. Yes, his childhood was sad, he experienced neglect from his parents for two whole years, was used by them as a pawn for their idiotic plans, and ended up disappointing his father when it turned out he had no real talent. And again I ask, so what? This sort of experience isn’t exactly what one would call unique, or even extreme. There are countless children in the world who go through the exact same thing in various forms. Parents who put too much pressure on their kids to succeed, parents who try living vicariously through their children, parents who make their disappointment known and even punish their children for failing to live up to their expectations (something Zeke’s parents never did, by the way). The point is, this isn’t even what one would classify as extreme hardship. It’s a sad story of a child being neglected and not receiving enough love from his parents. This isn’t to undermine the very real pain one experiences from those things. Not at all. That pain is real and legitimate. But it’s also fairly common and pedestrian, as far as childhood trauma is concerned, and it doesn’t even remotely begin to justify the extreme lengths of megalomaniacal, sociopathic, genocidal tendencies he later displays. Also, Zeke also had his grandparents, who did love him and spent lots of time with him. He had Mr. Ksaver, who played with him and acted as a mentor to him. It wasn’t like Zeke had no one and grew up with zero connections. That’s BS.

Levi calls this bitch on his shit later in chapter 114, as Zeke’s muttering away in his delusions about how he’s “saving everyone”. He asks Zeke “That was your plan? Mercy killings?”. Levi’s asking Zeke here who the hell gave him the right to decide who lives and who dies? Who gave him the right to decide who’s life is WORTH living? When Levi says him getting to die by being eaten by a Titan is pretty merciful, considering he stole the lives of so many of his comrades, Zeke’s reply speaks volumes about just how warped and demented his thinking is, when he says “I stole nothing. I... saved them. Them and the children they would have... I saved them all... from this cruel world.”. He’s literally justifying murdering countless people by trying to redefine that murder as “saving” them. It’s not murder because it saved them from ever having to suffer again! He’s absolving himself here of his sins by casting his actions in not just a favorable light, but trying to sell them as heroic and admirable. He takes no, actual responsibility for what he’s done. He removes himself from that responsibility by pretending he was doing a good thing, an honorable, noble thing, by murdering a whole bunch of people who’d never done jack shit to him. Yippee for Zeke, I guess. He’s the very definition of an ego-maniac, of someone suffering from a messiah complex. He’s insane, and morally depraved. The very fact that he’s the one who comes up with the idea of eradicating the Eldian race by rendering them infertile is only further proof of this. What teenager comes up with a plan to exterminate an entire race of people and thinks it’s a good idea?

Right before he blows himself and Levi up, he screams “I’m hope you’re watching, Mr. Ksaver!”. He’s indulging in his own, fanciful notions of himself as the “chosen one”, as a unique person who alone is capable of delivering humanity to salvation. He’s showing off, asking Mr. Ksaver to watch him as he “saves the world”, because all he cares about, really, is making himself feel special, of fulfilling what he’s deluded himself into believing is his destiny, his right to decide the fate of the world.

And then he almost kills Levi in the process.

I swear, I wish Levi had just chopped his shitty head off right then and there. No one can blame Levi for chopping the bastards legs up like he did, for being so angry. It wasn’t just that Zeke had killed so many of his fellow soldiers by turning them into Titans, or tried to kill Levi by turning them into Titans, it’s also how Zeke laughed about it, and laughed at the pain he’d caused Levi, treating all of it as if it was worth nothing, and then having the unmitigated gall to cast himself as the hero bestowing his benevolent mercy on all. Give me a fucking break.

Fuck you Zeke. I hope you rot in hell, you dumb shit.

Also, fuck you to Floch too. I hate that bastard almost as much.

#attack on titan #shingeki no kyojin #Levi Ackerman #zeke yeager #snk 113 #snk 114 #meta #thoughts

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mewmewchann · 3 years

Text

Danganronpa tier listttttt

Idk if people know how I feel about these characters, so here ya go! This is my opinion, please don’t attack me for this (also I only did this for the mainline games and Komaru + the Warriors of Hope)

...Also I wanted to go into detail on some of these so yeah Warning: it does get pretty rambly

S tier

...I don’t really feel like I need to explain any of these. MOVING ON

A tier

Chiaki Nanami Please don’t kill me for not putting her in S. I can explain, I promise Don’t get me wrong, I absolutely adore her and love her relationship with Hajime, but I didn’t really get as attached to her as I did with other characters. I still love her though

Fuyuhiko Kuzuryu He has one of the best character arcs in the series, only JUST being outranked by Shuichi. Seriously, best SDR2 survivor, hands DOWN.

Ultimate Imposter Yep. Fake Togami outranks actual Togami by miles. YEAH I SAID IT! Idk, I found them a lot more interesting and likeable than Togami and it was a real shame they got killed off so early. They were pretty fun.

Ryoma Hoshi ...Do I even need to explain why he ranked so high? Like, come ON! He’s one of the most underrated characters in the franchise!

Hajime Hinata 3rd best protag for me (yes I’m counting Kaede shut up), but I still love his arc.

Kiyotaka Ishimaru He was my fave from the first game for a while, but the Kiyondo stuff kinda brought him down for me. And ngl, at times it feels like people only judge him based on his friendship with Mondo. I still love him though.

Mondo Owada Chapter 2. Need I say more. He’s a pretty cool character outside of that, too.

Komaru Naegi Just copy-paste my reason for Ryoma, it’s practically the same.

Nagisa Shingetsu Best Warrior of Hope. Hands down. I will die on this hill.

Kotoko Utsugi Despite being beaten out by Nagisa, I still adore her. She deserves the best.

B tier

Maki Harukawa Okay don’t get me wrong, I like her as a character, but the main problem I had was that her crush on Kaito kinda came out of left field for me. Like, she was a stoic unfeeling assassin and she suddenly fell head over heels for some astronaut that knocked on her door a few times. It feels pretty rushed (though knowing Tsumugi it probably was) and kinda brings her down a few pegs for me.

Korekiyo Shinguji “Why is he ranked so high!? He’s the freaky incest guy-” SHUT UP. Yes, his character was absolutely obliterated by the incest twist, but outside of that he is actually a pretty compelling character. (also if you look into his writing it’s pretty heavily implied that his sister used and abused him so judging him based on the incest thing alone is kinda odd ngl)

Ibuki Mioda She’s pretty fun. I’m not as head-over-heels for her as other people, but she’s pretty fun.

Celestia Ludenberg See, Ouma stans? THIS is how you do a compelling liar character!

Peko Pekoyama Please don’t kill me. It’s just that outside of Fuyuhiko she kinda felt......Eh? Like don’t get me wrong, I like her, but something always felt missing for me.

Nagito Komaeda My favourite antag didn’t even make A tier whoops- Yeah, Nagito is the best rival for me, but I’m not as head-over-heels for him as the rest of the fandom is.

Leon Kuwata PLAY HIS FREE TIME EVENTS.

Kiibo The “that’s robophobic!” joke kinda got old after the billionth time, but other than that he’s fun.

Aoi Asahina Her development is cool, but I don’t really have much to say on her honestly.

Sonia Nevermind Same reason as Aoi, but her relationship with Gundham is pretty cute.

Jataro Kemuri This kid deserves better and needs protection. ...I don’t have much other than that, though.

Monaca Towa This is gonna be controversial, but Monaca is the best villain of the franchise for me. Sure, she’s far from being one of my favourite characters, but she’s menacing and enough of a threat to be a great antagonist.

C tier

Kyoko Kirigiri Please don’t kill me. Like...She’s okay, but for a while I found her kinda......Dull? Idk what to say here.

Makoto Naegi He’s alright, but he’s the weakest protagonist for me.

Tsumugi Shirogane I think people are gonna agree with me the most on this. She’s a decent villain, but the "plainy plainy plain” stuff got REALLY old. (which is partially why I rewrote her entirely in DFTH oops) She’s better than Junko by a long shot, so at least she has that.

Kirumi Tojo She was okay until the nonsensical prime minister twist. Seriously, I detest that twist.

Angie Yonaga ...I don’t really have much to say on her. Like the Atua stuff got pretty old and I found her kinda annoying, but she has enough to put her above the characters I don’t like.

Mahiru Koizumi She kinda felt like a better Tenko, but...Uh...

Teruteru Hanamura Yeah, I don’t outright dislike Teruteru. Shocking, I know. His backstory and the stuff with his mom is charming enough, but the perverted stuff still kinda icks me out. It’s not as bad as Miu’s, though.

Genocider Syo She’s more interesting than Toko, but still not really that much there other than “serial killer that somehow got accepted into this academy but don’t think about that look how quirky she is!!”

Tenko Chabashira Similar to Angie. But the way she drooled over and chased after Himiko was kinda eeeh for me. Not as bad as Souda though, thank god

D tier

Byakuya Togami God, he’s such an asshole. Sure his development and the stuff he does is interesting, but GOD HE’S SUCH AN ASSHOLE.

Akane Owari She’s the most “why the hell are you still here” out of the survivors for me. Like, I don’t outright hate her, but a lot of the time it kinda feels to me like she’s only there for fanservice. (seriously, in one of her sprites she’s literally flashing you. Do I need to say anything else?)

Himiko Yumeno Yeah, she’s also pretty weak for me. Her development post chapter 3 was okay I guess, but it kinda felt too little too late.

Toko Fukawa Ugh. Sure, I don’t really like Togami, but the way she drools over him is gross. Sure she’s somewhat redeemed by her development in UDG, but other than that she doesn’t really offer much.

Yasuhiro Hagakure Didn’t really felt like he offered much other than “blatant comic relief who’s probably a stoner”.

Masaru Daimon The weakest out of the Warriors of Hope by a long shot. Sure, his backstory’s pretty sad, but his personality kinda grated on me, ngl.

Kokichi Ouma PLEASE DON’T KILL ME. Like, everyone hails him as the best written character of the series, but if you look closer into his writing it’s actually pretty bad. Not to mention the stans constantly excusing his actions because “uwu liar boy who’s gay for Shuichi” REALLY brings him down.

E tier

Kazuichi Souda He’s literally all the things people hate about Teruteru, but the fandom barely calls him out for it! Hooray!

Miu Iruma She’s basically just there for NSFW jokes. Need I say more. Also, why is no-one else talking about how problematic the maintenance scene was?

Nekomaru Nidai He’s basically just there for shit jokes. And that really got old for me.

Sayaka Maizono OKAY PLEASE PUT YOUR PITCHFORKS DOWN AND HEAR ME OUT! Look, I’m not gonna deny she was kinda cute, but what she pulled in chapter 1 was honestly really fucking snakey. “But she didn’t know about the class trial stuff!” So what? She was willing to use practically the only person in the academy she was close to as a fall guy so she could get away with murder and didn’t even bat an eye! Even if the trial stuff didn’t happen and she DID get away with killing Leon, did she really think everyone would be okay with it? Hell, did she even CONSIDER how Makoto felt!? Sayaka is a fucking snake! She literally USED Makoto!!! WHY IS NO-ONE CALLING HER OUT!?!?

F tier

Junko Enoshima ...Do I even need to explain this.

Mikan Tsumiki I really didn’t like her, even BEFORE chapter 3. Yeah, I said it. She kinda got on my nerves and the fact that they were playing her up for fanservice despite her backstory was really gross, and chapter 3 just made everything so much worse. Like, her getting her memories back and killing someone could’ve worked, JUST MAKE HER PLAN MAKE SENSE!

Hiyoko Saionji She’s just a fucking bully. Do I really need to elaborate?

Hifumi Yamada ...Again. Do I REALLY NEED TO EXPLAIN THIS!?

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createandconstruct · 3 years

Note

can i ask about amarant coral? the monk in red himself~

Can you ask about Amarant Coral? *cracks fingers* Oh I insist that you do. Welcome to my Amarant Appreciation Post:

favorite thing about them: First off best thing about Amarant? His theme. The percussion and the guitar. It’s great and it captures him so well. People out here like “take Amarant out of the game he adds nothing.” EXCUSE ME? You remove the Amarant you remove the Amarant Theme my friend and that is something I do NOT vibe with.

least favorite thing about them: I wanna know more about him. Now Amarant doesn’t need a backstory or history in the game. In a sense, he already has one that connects him to Zidane and explains his motives and actions and eventual arc. But my issue is, Square never gave him anything else. If you look at Ultimania there’s additional lore about other characters, like Steiner for instance. You learn Steiner was a war orphan who was saved by the Pluto Knights - explaining his devotion to them. Amarant though? Square was like “uh... yeah he was born....? And then he uh got famous...? Idk then he met Zidane. You figure it out.” Square. I hate you. 18 years from his birth until he became “well known”. WHAT WAS HE DOING. WHY’D HE BECOME A SECURITY GUARD. WHAT WAS ON HIS RESUME. TELL MEEEE. Like, okay, what the actual in-game canon gives us on Amarant is sort of enough. He’s a purposely written mysterious “cool-guy” character so we’re given scraps to make him unknown but come on. In the published after-game canon, like Ultimania, we could have been given a bit more. He says he doesn’t remember anything about his origins or parents, but why. Was he another victim of Gaia’s wars? Probably. Was he born on a battlefield? Fighting for his life, living without comrades, taking scraps whenever he could? Was he betrayed when he was young? Is he a supposed to be a version of Zidane had he not been adopted into Tantalus by Baku??? These are questions I deserve answers to, Square.

favorite line: “’I can't just walk away. It goes against my nature...’ You're a real simpleton. Forget it, guys. There's no stopping this fool." I love this. Amarant figures Zidane out pretty quickly after Ipsen’s Castle. Zidane is hardheaded and also an actor. He acts cool and pretends his reasons for doing things are loose but when he’s decided something it’s always for a reason. You don’t need a reason to help people, but Zidane has his reasons for helping Kuja and while Amarant doesn’t give two shits what they are he knows Zidane won’t be stopped because, despite everything, Zidane saved a loser like him. Also this line “Tell me! Why didn't you kill me!?" Because I quote it all the time and it makes myself laugh. Amarant is such a drama queen and Zidane knows it. Zidane’s like “dude... what is your damage, it’s 5 pm on Tuesday in Madain Sari. I ain’t getting blood on my gloves cause you’re having a temper tantrum.” And then Amarant runs away to have an existential crisis. He’s 26 but compared to Zidane, he’s the real teenager with angst.

brOTP: I could talk about Zidane or Freya with Amarant but instead I’m gonna say the underrated dynamic of Amarant and Eiko (and also Vivi). Amarant with the kids is truly the greatest gift given by his presence in the game. Amarant has never known true suffering until he became a designated legal guardian of a group of minors. It also kills me how he’s the one to volunteer to carry Eiko and Vivi up the Iifa tree. He looks at Zidane and is like “you have seriously been the ‘adult’ of this group???”

OTP: Gotta say the Freya and Amarant dynamic. I really enjoyed their unlikely friendship in the game but then the content. The fan content. The Freya x Amarant fans out there, you win. Ya got me. You captured me and I am now imprisoned by their banter and begruntled allies to lovers story. Even if they’re not romantic I love them together and really wish the game gave us more of them. But even Lani and Amarant together are valid, though I prefer them as butting head bros. Not much content for my girl Lani out there either, she deserves more.

nOTP: Nothing I can think of. I tend to like platonic pairings for Amarant. The dude needs friends because he can barely define the word friendship.

random headcanon: Before Zidane returns at the end of the game Amarant wanders around a bit, unsure of what to do. He doesn’t feel any place with the others in Alexandria, Burmecia, or Lindblum. I imagine he goes off on his own for a bit like before but this time he’s not after Zidane or a fight. Instead he’s got no particular destination. Yet he somehow always finds himself running into people just like him - or the old him - friendless lonely people who are looking for a fight. He doesn’t go out his way to find these folks he simply runs into them and decides he might as well knock some sense into them. He does however make it his business to go after any murmur of people hatching any ideas of going after the far off little village on the Lost Continent. The home of the genomes and black mages. They were so helpless, so weak that anyone who’d want to mess with them is pathetic in Amarant’s book. Until Zidane returns, no one has the chance to even look at the Black Mage Village the wrong way because in the shadows Amarant lurks, making damn well sure of that.

unpopular opinion: I kinda love that he’s just there for most of the game? While I agree he gets the short end of the stick in the same way as Freya, not receiving additional individual character spotlight (which could have very well been supplied through discoverable lore in the world/npcs or through sidequests) I never considered his “standing off to the side” as a detriment to his character.

Many would probably agree that Amarant always felt like a bit of a parody of the loner character, or at least the stereotype of the loner character. Amarant is so easily paralleled with Squall and Cloud’s surface-level attitudes because his dialogue always felt like something to poke fun at. As the player we’re supposed to align with Zidane’s way of thinking and how he views Amarant. When Amarant loses to Zidane and pretty much grits his teeth and goes “KILL ME,” along with Zidane we’re supposed to kinda raise our brow at him and go “...really, dude?”

Amarant’s a character introduced as an antagonist who has more in common with the power hungry villains of the game. Like many of the characters in FFIX, Amarant is in search of purpose in life, which he has never found, because he was always looking in the wrong places - in places of violence and power. Very toxic-masculinity of him. Amarant is “cool” on an aesthetic level but in reality he’s the polar opposite of cool in terms of what FFIX states about the need for others to be intertwined in your experiences so that you can live a full life.

I sort of love that he’s like a grumpy pitball following a 16 year old and his friends around. Then he sits in the corner when they all meet up and discuss current events acting like he doesn’t care (not to mention he casually walks as everyone is running as fast as they can to escape Terra - made me laugh cry on my first playthrough) He is “just there” but that’s because he has no where else to be, no where else to go, he’s a man without a home. And until Zidane offers his hand, at the point where Amarant is most willing to take it at Ipsen’s Castle, he’s not truly a party member. He IS an outsider for almost the entire game but at Ipsen Castle he joins the party, becomes a comrade, and decides he’ll allow himself to change paths and start a life where he has friends and lives, as well as fights for them. Which is why after that moment, Amarant finally has a victory pose.

song i associate with them: I was scratching my head for so long trying to think of a song or track that had Amarant vibes until it hit me. Outskirt Stand by Tsukasa Tawada (from Pokemon Colosseum). Amarant is so chill, he’s not a bombastic guy, so he needs a theme that drops me in the rocky open desert of the Lost Continent like I’m just lumbering around looking for a monkey-tailed menace. Some other Amarant tunes: Pyrite Town, The Under, Snagem Hideout tracks from Pokemon Colosseum. This post is just an elaborate call to action for everyone to listen to the Pokemon Colosseum soundtrack. Tsukasa Tawada is so great and he has a YouTube. Check him out.

favorite picture of them:

Yoshitaka Amano’s Salamander Coral. I love him. He had too much power.

Also everything drawn by @crispy-ghee. Everything. I will think of this Comic forever until I die. Tattoo it on my flesh. The banter, the dynamics, the post-game content, the Zidane prince-consort outfit, the new Amarant outfit, the stuck-in-the-same-place relationship him and Freya have. Perfect. Go read it and consume Crisipy’s stuff. And also check them and their current art out, they just consistently get better and better. Here’s a first panel preview of my fav comic. Read it.

@hannahlady‘s Amarant art and their Freya/Amarant art is just ugh. *Chef’s Kiss* Here is another preview because you should go look at it.

Here’s a piece that deserves so much more love by @snackage. I LOVE how they drew Amarant. Here’s a little preview. It’s SO GOOD

Anyway TL;DR: Amarant is love and life and you’ll have to pull him from my little gremlin hands.

#asks #scriberat #amarant coral #ffix #final fantasy ix #amarant #final fantasy 9 #freya #amarant x freya #lani #zidane tribal #eiko carol

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heliads · 3 years

Text

The Sibling Dilemma

When you traded a life in Brooklyn with your brother, Spot Conlon, for an exciting one in Manhattan, you swore to yourself that you’d never reveal the identity of your brother. However, you’ve also promised to never tell lies to the one boy who truly matters to you- Specs.

masterlist

The lamps are low in the main room of the Lodging House. A golden glow has cast itself about the peeling paint on the walls, and the wooden paneled floor creaks almost constantly as newsies cross over it to reach their friends. A steady hum of chatter permeates the room, as it has for the last hour or so. However, you’re not focused on any of that right now. No, your eyes are drawn to one boy in particular, dark hair tucked away as always underneath a gray cap.

Specs is talking to Race and Albert about the best selling points, leaning casually against the wall as the friends speak. He’s casual, nonchalant, but somehow manages to make the two boys smile again and again, even as he tears their selling strategies to shreds.

“You’re staring again, aren’t you?”

You straighten up hastily when you hear those words. Katherine, who has just slid into the seat next to you, crows wickedly at your embarrassed expression. “Say that a little louder, Katherine, I don’t think they heard you over in Brooklyn.” Katherine just laughs harder. “They may not hear me, but even Spot Conlon can see you staring at him.”

You tug your newsie cap down over your hair, using this small motion as an excuse to do something to get rid of the nervous energy still bounding over you from when Katherine startled you. “I don’t know what you’re talking about. I’m just sitting here, having a good time-” “'And looking over at Specs for the fifth time in the last minute?” You roll your eyes. “It has not been that long, alright? You’re exaggerating. You’re worse than Jack when there are lousy headlines.”

Katherine puts a hand to her chest, pretending to be affronted. “I would never. Besides, I’m right. You’re hopeless, you realize that?” You sigh to yourself. “Trust me, I know. Don’t think there’s a whole lot to do about that, though.” Katherine smiles at that, letting her gaze follow yours back across the room and towards Specs once more. “It’s almost cute.”

She drops her voice now. “Have you told him? Are you going to tell him?” She doesn’t need to name a conversation subject for you to know what she’s talking about. This isn’t some ordinary secret, this is something you’ve been keeping from every newsie in ‘Hattan, ever since you got here a year or so ago. The boys always wondered why you were so good at selling papes if you came from a factory job, but the truth is that your newspaper-selling experience began a lot earlier than that.

You lived in Brooklyn before you came over here. Brooklyn, home of the best sunsets in all of New York and, most notably, Spot Conlon. To you, he wasn’t just some faceless turf leader like he was to the other Manhattan boys, he was your brother. Your older brother, someone who would never let you out of his sight for longer than a second, or at least until you’d made up your mind to leave.

It wasn’t like you’d left on bad terms. You were just tired of always being treated like a sidekick, someone who couldn’t handle themselves and had to be watched around the clock lest you ruin something. You could sell papes like anyone else, if not better, but that didn’t stop Spot from sending you out with an entourage just in case someone tried something. You were a Conlon, after all, and you could rival Spot for his fighting prowess, but none of that mattered to Spot. No, all he saw was a timid little sister, and that was exactly why you had to leave.

It had taken a long time to convince Spot to let you go. Eventually, you had gone up to him and said that you would be leaving that night regardless of his decision, and he might as well accept it because there was no way you would be staying in Brooklyn any longer. He had stared at you for a second, then broken into laughter. “Alright, if you’re so keen on it. Man, you sound like me.” He had sent you on your way with a new newsie cap and a smile, and you had only seen him a few times since.

The problem with your Brooklyn backstory wasn’t your brother, or an argument on his end, but the fact that you still kept it a secret. You’re not sure when you decided that knowledge of your brother should remain hidden, only that you wanted to keep it that way. If the Manhattan newsies found out that their friend Y/N was Spot Conlon’s sister, you knew they’d treat you differently. And if they treated you differently and always kept their distance, then what was the point of leaving Brooklyn in the first place? No, you had to keep it a secret. There was no way around it.

The only issue with this is that, well, it means keeping secrets from your friends. They took you in without a second thought, defended you to the Delancey brothers and laughed with you after the selling hours were over. Specs, especially, is your best friend, even if you can’t help wishing that it would be more. You two didn’t keep secrets, that’s just what you did. He was kind and honest, and you were withholding the biggest truth of your life. If he found out, you have no idea what he might think. He might even hate you.

“No, I haven’t told him, and I intend on keeping it that way.” Katherine sighs. “They’re going to find out at some point, you know that?” You nod, acknowledging this unfortunate truth. “You found out because your reporting brought you to multiple turfs, and if Jack keeps improving Manhattan relations with Brooklyn someone’s bound to let it slip. I know it’ll happen at some point, I’m just kind of hoping to push it off, preferably until never.”

Katherine reaches out, putting a comforting hand on your shoulder. “You don’t have to be afraid of this, you know. Specs is a great guy, probably one of the best here. If anyone, he wouldn’t judge you for this.” You force a feeble smile. “I know, but that doesn’t mean he wouldn’t feel differently. I mean, what if you found out someone was Spot Conlon’s sister? Even if he didn’t mean it, something would still be different, and I don’t want anything to change with him.”

Katherine raises an eyebrow. “Anything?” You roll your eyes but can’t help a laugh. “Okay, maybe some changes are alright. As long as those changes involve him actually looking at me like I’m something more than a sister.” If you’re too busy laughing with Katherine and don’t notice Specs looking back over at you from across the room, a smile starting to slip onto his lips, well, it would only make your own happiness grow even more.

A couple of days later, you stumble into the Lodging House after another long day in the hot sun and Manhattan streets when you notice that the room is surprisingly empty. Well, it’s empty of two main people: Specs and Albert. You know you shouldn’t have noticed this quickly, but it’s kind of hard to miss- they tend to be the centers of conversation, and without them the room is fairly quiet. In fact, you notice that the few other newsies in the room look worried, as if they know some troubling fact that you don’t.

Eventually, the uncertainty is too much for you and you walk over to Race, whose fingers are clenched nervously around a cigar. You fold your arms across your chest. “Why does everyone in here look so uneasy? What, the Delanceys promise vengeance?” Race laughs, although you can tell it’s forced. “Jack sent Specs and Albert on a mission to Brooklyn. Said something about how he may have borrowed something of Spot’s the last time he was there and he needs the boys to return it before it’s too late.”

You stare at the blond boy in front of you. “You’re kidding. What did Jack take?” Race glances around, as if making sure the older newsie isn’t there, then continues speaking in a hushed voice. “Last time I checked it was some paper with a bunch of selling rules on it. Jack wanted to check and see if Spot was telling his newsies to sell in other turfs, and it would have been on that pamphlet. The only problem is that Jack’s too famous to go return it himself, so he’s making Specs and Albert do it.”

At your scoff, Race grins. “That’s his excuse, at least. None of us want to tell him he’s wrong about being famous, or he won’t stop moping for a week. Not even Katherine will be able to pull him out of it.” You smile at that, although it slips as you realize what this means for Specs and Albert. “There’s no way they’d be able to get it back without Spot noticing, though. Jack knows that.”

Race shrugs. “I guess he thought that he’d get caught anyway. If it’s just two ‘Hattan newsies, Jack can swear that it was an accident and it’ll never happen again, but if it’s him, Spot’ll come after him directly. Don’t know when Jack started thinking like a general but it’s strange to see.”

You sigh. “They’re going to get soaked. Those Brooklyn boys don’t take insults too lightly.” Race mirrors your troubled expression. “I know. That’s why we’se all worried.” You nod at that, feeling your panic growing with every second you spend thinking about it. At last, the nerves are too much and you start to head out the door, muttering some excuse about checking in on Katherine. Your steps, however, do not take you in the direction of Katherine’s line of work. Instead, you’re headed towards the Brooklyn Bridge, towards Specs, and Spot, and everything you tried to leave behind.

Your breathing is harsh in your throat as you walk. You know Spot, and you know that he doesn’t take kindly to newsies trying to encroach on his territory. If he sees Specs and Albert trying to return his stuff- which he most certainly will- then he’ll be furious and try to take it out on them. Your heart clenches at the thought of it- Specs, the boy who’s got a smile like sunshine yet can make jokes as sly as a fox, forced to take the blame for Jack’s actions.

That’s why you’re heading down to Brooklyn, you suppose, hoping that you’ll be able to do something to stop it, although you’re not sure you’ll be able to do anything at all. You’re so lost in thought that you practically trip over Specs and Albert as they enter off of an adjacent street. You straighten up hurriedly, hoping to get away before they see you, but you feel Specs’ hand on your arm, pulling you back.

He looks at you, concerned. “What are you doing here, Y/N? Don’t you know Brooklyn’s dangerous?” You manage a light laugh. “I could say the same thing about you.” Specs’ face closes momentarily. “So you know why we’re here.” You nod slowly. “This is a terrible idea. If you guys go back now, you can probably make it back to ‘Hattan before anybody notices you’re gone.”

Specs opens his mouth to say something, but he’s drowned out when you hear a voice from behind you. Your back is turned, so you can’t see who’s speaking, but you’d recognize that voice anywhere. It’s Spot, and judging by his tone he’s not exactly pleased to see Specs and Albert, two Manhattan newsies, in the middle of his turf. “Is there a reason why you’re both here? It had better be good.”

Albert pales visibly. “We were, uh-” Spot cuts him off. “I’m going to hope that paper in your hand isn’t what I think it is, or we’re going to have some problems.” Across the square, you can see Brooklyn newsies starting to converge around you. This is exactly what you hoped wouldn’t happen. You sigh, squaring your shoulders, then turn around. “We don’t have a problem, Spot. It’s not what you think it is.”

Spot is about to question this, but then his gaze falls on your face. Instantly, recognition flashes before his eyes and he grins, all traces of hostility flooding away. He steps forward, and out of the corner of your eye you see Specs move as if to protect you, but then Spot throws an arm around your shoulders, pulling you close in what passes for a hug in Brooklyn.

“Y/N, that you? How are you taller? It’s barely been a year.” You can’t help but laugh. “Good to see you too. Now, can you tell your boys to back off? We’re not here to make trouble.” Spot nods, gesturing with his hand and causing the rest of the Brooklyn newsies to return to their places by the streets. “Yeah, yeah, no problem. Are you going to tell me why you’ve got the Brooklyn selling rules or do I have to guess?”

You roll your eyes, reaching over to take the paper from Albert’s hand. The boy is still staring at you, awestruck, and so is Specs. You do notice, however, that there’s a look in Specs’ eyes, as if he’s just starting to figure something out. You have an uncomfortable feeling that you know what it is. You force yourself to turn back to your brother, slapping the paper down in his hand. “We wanted to check a few things out, make sure you’re not selling on our turf.”

Spot raises an eyebrow. “Our turf? You do realize this technically is your turf and not Manhattan?” You give him a look, and he just grins. “You know what I mean. Now, if we don’t have any problems, mind if we head back?” Spot nods, waving you away. “No problems here. Drop by later, Y/N. It’s been too long.” You smile back at your brother as you walk away, Specs and Albert following you after a heartbeat.

You can sense their hesitation even as you walk, pressing in on your back like a second shadow. They don’t say anything until you’re already crossing the Brooklyn Bridge, then Albert speaks up. “Look, I don’t really know what happened, but I’m pretty damn glad you were there. Thanks, Y/N.” You force a smile as he turns off onto a nearby street, leaving you alone with Specs and the knowledge that he’s figured out your unlikely family relationship.

At last, he speaks. “Is it true? Are you really Spot Conlon’s sister?” You sigh. “Yes. I moved here because I was sick of everyone treating me differently.” Specs considers this. “Is that why you kept it a secret? You thought we’d treat you differently, just like them?” You nod reluctantly. “I knew you would, that’s the problem. No matter what, I’d never be able to escape the fact that I was his sister, so I just didn’t tell anyone.”

You look up at him now, a sudden panic twisting your gaze. “You’re not going to tell anyone, right?” Specs chuckles softly. “Not unless you want me to, although it’s not the worst secret to hide. If anything, it’ll make them respect you even more.” You tilt your head, acknowledging this. “That’s the problem, though. If I can’t have their respect because of who I am, why should I hide behind my brother’s name?”

Specs smiles at you now, and it makes you feel like you’ve been struck by a gunshot. “I don’t think you’ll ever have to worry about that. You’ve got a way of making people believe in you. Of making me believe in you.” You look at him, hope starting to color everything with a rosy hue. “You-” Specs nods. “I’ve loved you for a while now, Y/N, and I would never feel differently about you, no matter who your brother was. Although, even the same, I might not be heading over to Brooklyn for a summer vacation.”

A laugh echoes in your throat, relieved and happy and full of everything you’ve been holding back. “That sounds good to me.” When he kisses you, you don’t feel like a Conlon or a Brooklyn newsie or even a Manhattan girl anymore. You just feel like you, someone who’s finally able to be happy with the boy you love.

#specs #specs imagines #specs x reader #specs oneshot #newsies #newsies imagines #newsies oneshot #newsies specs #newsies specs imagines #newsies specs x reader #newsies specs oneshot #newsies live #newsies live imagines #newsies live oneshot

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mable-stitchpunk · 3 years

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Please rant abt fnaf interpretations I am, all ears

.I didn't expect such a positive response! 8D I got a few asks for them, and I'll see if maybe I can reply to a few of them with different interpretations...

...Also-

Let's begin with the rants. You might've seen some of these points before, but I'll bring them back up because I desire to.

1. The ghosts of the Missing Children are evil.

I don't read a lot of fanworks anymore, but I used to loathe when I would find those fics where the murdered children would be portrayed as vindictive little monsters who were going out of their way to ruin everyone's lives. Possessing main characters and forcing animatronics to go against their wishes to attack innocents for little reason.

I find this is the reason I also don't like the "animatronics are sentient and possessed by second consciousness" headcanon. Not all of them are bad, mind, you, but many of them eventually go the earlier route.

Why I hate this is because it's never a situation where we're being led to see the children as sympathetic, or corrupted by time, but a way to make the Missing Children less sympathetic to the audience. Or to raise drama by having a slew of ghosts who feel no sympathy and cannot be stopped.

Other versions show them as being especially bratty or excessively mischievous, which I just find a little annoying.

Funny enough, I don't think a child's soul going rogue is a bad idea. Such as in the case of Andrew, who I feel was massively underutilized. You can just tell when it is a pull to make the reader see in a specific direction. You can tell when there's a subconscious desire to make the murders seem 'not that bad'.

Also, the idea that the ghosts of dead children are evil because they're looking for justice for their deaths is kind of frustrating when so many headcanons try to excuse William's actions by suggesting that something traumatic triggered them.

Of course, in these cases the children are seldom actually looking for their murderer and instead are just circling around someone else.

...Oh yeah, and since we're on it-

2. William killed those children for revenge. (As a defense)

Specifically, when this is NOT used as a plotpoint, but instead used as a blame shield for William Afton. You can usually tell the difference by how the effect is cast on William.

If the tone is: William lost someone and then went on a kamikaze mission to ruin everyone's lives. Then typically it's fine.

If the tone is: William killed a lot of people- but he only did it because he lost his x! Then it gets frustrating.

It's the same boat as that Henry depression excuse, though it's worse in this case because William didn't just murder children, it's suggested that he hunted and tortured them, and then brought them back to continue making them suffer as animatronics.

3. William was a scientist.

Don't give him that much credit. This man didn't start doing science experiments until the plot got so elaborate that they needed to one-up him with himself.

4. Henry was a good father.

I absolutely loathe this one, because it hinges off of the novel's version of Henry, who actively abandoned one of his children to obsess on the other one. To the point of forcibly bringing them back without caring if the other existed- and then ditching that one too.

Sammy Emily does not exist to the FNAF fanbase. He's not a sympathetic character or an important character, he's just a plotpoint that's written out when it comes time for the big Shyamalan twist. He's pretty much totally ignored.

And by his father too. Henry never acknowledges Sammy, never cares about Sammy. He only cares about what happened to Charlie.

...But not enough to do anything about it.

Which is why I think a little acknowledgement that Henry wasn't great just because he died would go a long way. I won't even go into his more egregious actions.

5. Circus Baby's sexualization.

This is one actually backed by canon, but that doesn't make it any better. I hate the constant sexualization of Circus Baby... and especially the hypocrisy that surrounds it.

Let me give you one example of an event I had once.

When I was first writing CGHA and Mike and Mari got together, there were a lot of people who apparently missed the numerous references to the fact that Mari had aged in his many years as a puppet. This meant that Mari was now an adult, but they said since he died as a child that he is still a child. The word pedophilia was dropped a few times.

These are the SAME people who are all gung-ho about Baby dolled up in a sexy human body with skimpy skirts and long boots, dolled up by her daddy. But isn't SHE still a child?

Well, no... Because she's a bad girl, so she doesn't count.

Get off with that.

6: Vanny is in love with William Afton.

Unless we're talking Stockholm Syndrome, I don't think you're going to love a demonic entity possessing you and threatening to break your fingers if you do the wrong thing. I guess you can say that's abusive love, but like Joker and Harley Quinn, people somehow manage to forget that aspect.

I've gone into this before, so I'm not going to rant on it again. Largely because I don't know how FNAF will portray Vanny, and it's not above them to take inspiration from other sources.

Now, unlike some of these other headcanons, I THINK someone could actually write a story and make this work if they acknowledged that it was beyond "toxic". Vanny would have to be emotionally and mentally crippled to respond positively to such treatment, but it is possible if it was backed up with behavioral issues and a backstory.

You'd have to get on Silent Hill 2 levels of backstory, but it is possible if you want to go that dark.

---

I think I'll end it there for now. I know some of these might be hot takes, but I'm just voicing my thoughts here. Again, not saying anyone's wrong for holding these interpretations, but I think they should consider why they hold them.

Because it looks to me like these are used-

1: To make this Missing Children Incident less severe. 2: To make William Afton more sympathetic. 3: To make William Afton look cool. 4: To make Henry a martyr in contrast with William. 5: To have a forced femme fatal. 6: To underplay how gross the possession aspect- especially when it is a middle-aged man in complete control of a young woman's body and actions.

...But hey! That's just me. Rant over, for now. XD

#FNAF #Rant #Interpretations #The Missing Children #William Afton #Henry Emily #Elizabeth Afton #Circus Baby #Vanny #Vanessa

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ghosthan · 4 years

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what would you say are the differences between 616 Tony and MCU Tony? 🤔

Hi anon! Many people have talked about this and I'm certainly not the authority on the topic, but I’ll try my best to explain some of the major differences that I have noticed! Thank you for asking and I’m sorry it took me so long to answer you.

Important to note: neither version of Tony has had a totally consistent characterization. Depending on who you ask and which comics/movies they've consumed, they might give you a different answer here and not be wrong.

616 Tony is even harder to put into one box because his character has been around since Tales of Suspense in the 1950s. That’s a long time. Things have changed over time, under different writers, changing political atmospheres, and outside pop culture influence (including influence from the MCU, unfortunately, in recent years.) You get the picture. So I’ll be making some generalizations and try to be clear about which eras I’m speaking when I make these comparisons, but ultimately, if someone wanted to be contrarian, you could probably refute a lot of what I say here if you cherry pick canon. Which is fair enough! That’s sort of the fun of comics, there’s so much to choose from and something for everyone.

So here are some observations from me, under the ‘read more’.

1. Physical Appearance

This is sort of an easy one, but worth mentioning!

MCU Tony does not look like 616 Tony. RDJ is great, but he would not be most 616 fans’ casting choice on looks alone. MCU Tony is tan, a Malibu man, with brown hair and brown eyes, and RDJ has sort of round facial features (a funny sloped nose, big, round eyes, round forehead, not a particularly sharp or classically “superhero masculine” face.) As you may know, this lends well to certain fanworks and tropes, such as Tony having Bambi eyes.

Or Tiny Tony. He is not actually canonically small, but he's smaller in the MCU than in 616 and from what I can tell, a portion of fandom has latched onto that. He’s a grown man, but RDJ is pretty short, and of slighter build than 616 Tony. RDJ is 5′9, but they make him act in heels, and I believe his canon MCU height is 5′11. Another popular trope I’ve seen is shrinking Tony in fanfic/fanart for a dramatized height difference with Steve, making him weak or fragile; this is fine because everyone has their own taste, but for the official record, he’s a capable, strong guy! Especially in earlier stages of the MCU, in which he’s a bit younger. Tony isn’t just a brain; he carries out his plans with his own two hands! He builds his armor, he remodels his lab, he survives hand to hand combat when he doesn’t have the armor. Muscles!

616 Tony is 6′1 without armor and 6′6 in armor (making him taller than his 616 Steve counterpart in armor and very close to the same height out of armor!) 616 Tony is generally paler with black hair (sometimes the classic blue-black I love so much) and blue eyes, and it obviously depends on the artist, but he has a pretty typically ‘masculine’ face and build. Generally he is drawn with a squared jaw and a high bridged nose (such as in the Extremis storyline, or drawn by Marquez), but again, this varies from artist to artist! Here's some examples of 616 Tonys.

Wait, you might be saying, but I have seen comic panels where Tony has brown hair/brown eyes!

Yep. Due to a combination of forgetfulness, inconsistency, and the MCU bleeding into the general consciousness of the comics, sometimes Tony is randomly depicted in the image of RDJ, or if not in his image, at least visually inspired by the MCU-- hair color and style, eye color, dialogue, etc.

616 fans don’t typically love this; he’s very handsome when drawn this way, of course, (look at him!) But it isn’t really the same character.

Also, MCU Tony has (at least for some of his movies) a reactor built into his chest. While 616 Tony has, at times, been more or less physically connected/dependent to his tech, he doesn’t have the built in reactor (most generally speaking, there are times in comics when he temporarily has the tech built in, but this isn’t really the status quo.)

2. Relationship with parents/ family history

While it is definitely implied in the MCU that Howard was not a good father to Tony, (such as in Iron Man 2 when Tony says “You're talking about a man whose happiest day of his life was shipping me off to boarding school” and “He was cold, calculating, never told me he loved me, never even told me he liked me”), Tony has a different sort of attitude toward Howard in MCU than in 616. It’s kind of weird, and hard to discuss. To me, it seems implied that MCU Howard was emotionally abusive to Tony based on what Tony does say about his childhood, and yet, the films kind of randomly give Howard weird moments of “Well, he tried his best and deep down he loved me the whole time!” forgiveness. MCU has a Howard kink and I'm very cringe-face emoji about it.

For example, Iron Man 2 shows that old film reel of Howard talking about how Tony is the greatest thing he ever created, and in Endgame, when Tony goes back in time, he meets Howard and has a very weird interaction with him in which Howard declares he would do anything for his son, (to his deeply damaged son who is a new father himself.) Yet, for all his talk, it's his actions that speak, and his actions left Tony damaged, traumatized, and emotionally inept at forming healthy relationships. So.

Sorry. I’m a little bitter. I'm just uncomfortable with how they sort of set up an abuse history but then treated it kind of lightly and Howard gets off the hook as "well, he tried his best" without really acknowledging the hurt he caused.

Avengers: Endgame 2019

I won't go super in depth into the abuse stuff because it's a little touchy and could take up a lot of this post. But.

I’m not against any reconciliation and I do appreciate the fact that a lot of times, victims of abuse feel a desire to forgive and reconnect with their abuser-- my issue with the MCU depiction of Tony and Howard is that Tony never really gets the vindication of his abuse being recognized for what it was before he forgives Howard. To me, that’s not forgiveness as kind of... gaslighting himself that it wasn't as bad as he remembered his own experience being, because of a sense of nostalgia and grief. It’s not the same, and I have issues with it.

However, a lot of my opinion is based on subtext and it is just my opinion; with depictions of abuse, different people are going to react differently, and other people may have found these scenes touching and gotten something positive out of them, and that's totally fine too!

It’s also a bit difficult to talk about Tony’s relationship with Howard in 616, for a few reasons: shifting timelines, lots of canon that I have not read all of, and the fact that it really is difficult to sum up such a complicated relationship.

Right off the bat, I’ll address the basics. I used the same scene in another ask, and I think it's frequently cited in any meta regarding Howard, but in Iron Man Vol. 1, we see more into Tony’s childhood and see Howard verbally abusing his family, drunk, at the dinner table.

Iron Man Vol. 1 #285

We get this scene with adult Tony’s retrospective commentary on how his own issues that he blamed himself for were actually a cycle starting with his father, the insecurity and abuse and alcohol, and that he realizes how much this has influenced him. Both MCU Tony and 616 Tony have some form of “stop the cycle of shame” arcs, but I don’t really see how this works narratively in the MCU because Tony makes excuses for Howard and continues to blame himself for a lot of his own personal struggles, whereas I think there’s just a bit more nuance in 616.

But uh. This isn’t totally true, and in recent years, things got real weird. I choose to ignore this chapter of canon, but in the Dan Slott run, Tony Stark: Iron Man, Tony’s whole backstory gets imploded. For one thing, the little of Tony’s childhood it shows in a flashback is uh. Uh. Well, it’s certainly out of character compared with previous 616 material, depicting Tony as an overly confident poor sport.

Basically, Tony is adopted. Tony has an evil brother. Tony’s biological parents make an appearance, as do his ‘classic’ parents, Howard and Maria. It’s just weird. It’s kind of out there. I’m honestly not a huge fan of this and ignore a lot of it, but it is certainly a difference between MCU and 616.

3. Personality

I’m going to be very general. Both Tony’s have an outer self which they present to the public and an inner self, but they’re a bit different. Both Tony’s have struggled with self loathing, but I think MCU Tony’s actual self worth is a bit higher, even just at some points in time. Even if his ego is part of his facade, I think he does believe some amount of the “I’m awesome”, even if just when it applies to his own work/inventions/saving people. Not to say that these moments of fluctuating self esteem make him egotistical, but this combined with his egotistical act and snarky, non-stop sassy dialogue, he’s quite different in general personality from 616 Tony, who is much more reserved.

Some more recent iterations of 616 Tony have been adapted to reflect the snark of the MCU, but he’s not so snarky and he tends to approach things more seriously. This is not a dis on MCU Tony; I think MCU Tony uses false ego and excessive sassy jokes as a means to deflect and control, which I think is very interesting and it’s nice to see this explored more in depth in fic where you get to see the thought process behind the bravado. MCU Tony is a partier, a good times guy, especially during Iron Man 2, in which he really does disregard consequences to have fun (driving his race car, partying drunk in his suit, letting pretty girls play with the armor, shooting off repulsor blasts for fun in a crowded room); I’m not bashing MCU Tony-- I think he had psychologically understandable reasons for behaving this way, the man was dying-- but 616 Tony really doesn’t act this way generally, and I think it’s a personality difference more than a difference of one being “better.”

616 Tony handles his stress differently, and they just have different psychological patterns, I think. I’m coming up kind of blank trying to think of a good comparable 616 arc, (sorry, I’m brain dead) but a less-than-perfect example might be Tony’s brain delete arc; he’s “dying”, like in Iron Man 2 he knows his expiration date, (circumstances are quite a bit different), but he throws himself more into work, into a cause, and as he really fall apart, we see him spiral into self doubt, remorse, fear, and insecurity, sort of falling into himself with lots of manly tears and calling himself pathetic.

(Some things happen in this arc that a lot of people find Gross. I also find these events gross. But. I don’t count the sex in “World’s Most Wanted” as partying to cope with personal mortality, because I think both character involved are in “end of the world” mode, and it’s more seeking intimacy for comfort than partying to numb the hurt. Does this distinction make sense? No? Perfect, moving on.) 616 Tony is generally much more humble.

Whereas MCU Tony, I think, tries to outrun those feelings via parties or making dozens of new suits, or seeking comfort by comforting others! Gifting things to people, building things for people, highly personalized individual living quarters, teaching Nebula games and trying to show her a fun time when they were in peril together.

They have some traits in common, for sure! But canon being inconsistent both in the MCU and in 616, my observations aren’t the rule, because I’m kind of cherry picking and going based on limited memory. But off the top of my head, they’re both extravagant gift givers! Recall Tony gifting Pepper the giant bunny in Iron Man 3, and compare this with Tony carrying a mile high pile of Christmas gifts after shopping with Rumiko in Iron Man Vol. #3.

I would say that while both Tony Starks are considered humanitarians, this is much more fleshed out and supported by canon in 616. Some examples of his philanthropy in the MCU: Tony makes charitable donations of art and money, Tony has an organization which provides disaster relief/cleanup which is referenced in Spider-Man Homecoming, Tony has an MIT grant for students and staff members. But to be honest, a lot of his MCU philanthropy is only mentioned in passing, or is largely handled by other people on his behalf and on his dollar.

In 616, we see Tony using charity almost as a means of therapy: it’s something he does very privately, not in the public eye (at least, not always), and it’s something deeply personal to him. One example that immediately comes to mind is Tony’s home for disadvantaged girls in Iron Man Vol. 3, and we see scenes of Tony basically driving the streets at night, picking up underage prostitutes, feeding them and listening to their stories before bringing them to a home he’s established where he knows all the residents, and provides educational opportunities and protection.

Another more recent example in canon that the Tony fandom loves is that Tony canonically holds babies at an orphanage. Sorry I don’t have panels for all of this, this section got long and I have been working on answering this ask in a very scattered way for a very long time.

Both Tony’s are romantics, I literally could write a whole other post about their canon love life similarities and differences, but I will briefly say that while MCU Tony does the long on and off, and eventual ultimate commitment, to Pepper Potts, 616 Tony is a serial monogamist; he is always falling in love, and he’s definitely not a playboy, but the hero-ing, self loathing, and lifestyle make it very hard for him to keep anyone in his life, and most of his partners fuck his life up and betray him. Needless to say, 616 Tony is not married, and certainly not to Pepper Potts.

Oh, and I guess this is so obvious I almost forgot to include it, but a huge similarity between both iterations of Tony is that they both constantly use their own life as a bargaining chip, and will pretty much die for anything. Or be the bad guy for a good reason (at least, in his own mind... see Civil War, or Hickmanvengers; 616 Tony, especially, does not shy away from making the hard decisions, and this leads to a lot of guilt and tension in his relationships-- often with Steve because 616 Steve/Tony angst fans are well fed, I guess)

Remember that time Tony had Steve’s mind wiped because Tony felt that Steve’s inflexible morality might hinder the Illuminati’s ability to save the world? And it eats Tony up inside and erupts into a homicidal fight when Steve finally gets his memory back? Me too.

Tony Stark as a character is defined by sacrifice, both of his own life but also of his own happiness and reputation and conscience, I think, in a lot of ways, and we see this in many universes. I could go on about Tony’s propensity for sacrifice in the less obvious ways, because I think in terms of heroic sacrifice, Tony has done a lot that other heroes wouldn’t be able to do because of moral inflexibility and conflicting philosophical schools of thought; Tony really is the “whatever it takes” type, and often believes the ends justify the means if he deems a threat worse than the potential wrong that could be done in preventing the threat. We see this a little bit in the MCU in the creation of Ultron, and in Civil War with the Accords. But there’s a whole lot more going on there I don’t want to get into.

4. Alcohol

MCU Tony’s alcoholism is never really explicitly explored. He is shown drinking in Iron Man 1, and in Iron Man 2 he drinks a lot and makes a fool of himself publicly, but MCU Tony doesn’t get any specific narrative arc focused on his drinking, and if I recall correctly, I don’t think he ever refers to his drinking as alcoholism in the movies? Also, while his binge drinking and embarrassing behaviors ostensibly stop after the events of Iron Man 2, he is shown drinking on screen at least one other time after that which I can remember, and it wasn’t a “falling off the wagon” moment, and an alcoholic in recovery such as 616 Tony would not take a drink casually. This article sheds a little light on some decisions made about Tony and alcohol in the MCU.

Alcoholism is a huge part of 616 Tony’s personality, which I went a bit more into depth about in this post, so I won’t repeat myself too much.

5. Their relationships with the Iron Man armor

A few points here: MCU Tony is famous for the “I am Iron Man” line being repeated throughout the franchise after he blows his own secret in the end of the first movie. MCU Tony sees himself as one with Iron Man, and the suit is the tech that enables him to be this version of himself. He sees Tony Stark and Iron Man as inextricable: you cannot separate them, and his identity is public. He, as Tony Stark, is an Avenger.

You may remember MCU Tony’s induction into the Avengers; in Iron Man 2, Nick Fury is forming the Avengers and tasks the Black Widow with going undercover to assess Tony to be a part of a hypothetical initiative. “Iron Man yes, Tony Stark no” and the comments about Tony as a narcissist may be funny, but the fact is, the snark and erratic personality of MCU Tony at the time of the formation of the Avengers in the movies is not at all like the Tony of the comics, at the time of the Avengers being formed.

In 616, things are quite a bit different! Tony invents the Iron man armor to save himself (like in the MCU) and uses it for hero-ing, but in secret. He works very hard to protect his identity as Iron Man, and for a long time, as far as the world is concerned, Iron man is a mystery man piloting armor built by Tony, hired as Tony’s personal body guard, (hence the 616 Steve/Tony fandom’s proclivity for identity porn as a trope!) When the Avengers form, Iron Man is the Avenger, close friends with the Avengers, (particularly Steve!) and Tony Stark is just the benefactor of the Avengers, providing them with a place to live and finances with which to operate.

In the very early days, Tony did not have the “reactor” like in the MCU, but his chest plate did keep him alive, leading to some very dramatic shots of Tony charging up using a wall socket, lamenting the plight of a secret hero.

616 Tony, generally, and especially in some of these earlier comics, was quite reserved, rather serious, and very angsty, (in private of course.) He may be wealthy, but speaking generally, he’s much less ostentatious than MCU Tony, less of a show off, less into flashy things and grand gestures. Of course, this isn’t always true in the comics, and some iterations of Tony are more like this than others, but MCU Tony is showier, sillier, and more of a fun-times guy. Any MCU fan would find those panels quite contrary to the Tony Stark you know:

Iron Man 1

Iron Man 2

I think I would say that while MCU Tony sees himself and the Iron Man identity and the armor as all being inextricably connected, we see a bit more compartmentalization with 616 Tony, who pretends that the armor is a whole separate person for years when his identity was private, and we see instances in older and newer comics, in which Tony is uncomfortable with some aspect of himself as Iron Man (for instance, during the second drinking arc, Tony temporarily swears off being Iron Man entirely, or for another example, when Tony is in a comma and Tony AI exists during Secret Empire, Tony “lives” in the Iron Man suit, and I think this could be interpreted as a meta parallel to Steve during this arc; Steve has had some core aspect of his character inverted, Captain America becoming Captain Hydra, so Tony experiences a similar inversion-- Tony Stark and Iron Man are forcibly merged, in a way that Tony seems deeply uncomfortable with, if his digital drinking relapse is any indication. But I digress; sorry for the tangent.)

Okay this post is inexcusable long, and very, very tangential, and I don’t feel like I’ve really covered everything I wanted to. But it has been sitting in my inbox for too long and if I don’t post it now I never will, so I hope this long, rambling thing has been a little bit helpful to you! Thank you so much for asking, I had a lot of fun rambling about this.

If you want to read a similar post, but well written and organized, with other insights, this post by Sineala answers a similar question!

#Anonymous #han reads comics #han meta #meta #iron man #tony stark #616 tony stark #616 #mcu #long post #han speaks #ask #sorry this definitely gets more incomprehensible as it goes on but i have been writing and rewriting and editing and fretting about this #for so long that if i dont just post it i probably never will and i sunk too many hours into it #to throw it away now 😅#abuse tw #abuse #alcoholism tw #alcoholism

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kittyprincessofcats · 4 years

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RWBY Volume 6

So, I pretty much binge-watched this one in a few days because I really needed to know how things go on after Volume 5 and it was just so good! Lots of messy thoughts to come!

[There will be spoilers for RWBY up to Volume 6 in this post (duh). Please don’t leave any spoilers for anything after Volume 6 on this post, or I will block you.]

Thoughts under the cut because this ended up getting a little long.

- The character short for Adam was really cool! It was cool to see how the White Fang began, to see Sienna, Ghira, Ilia and Adam in action, to see the irony of Sienna being a mentor to Adam and encouraging his ways when you know he’ll end up killing her, and to see a glimpse into Adam and Blake’s past relationship (and how the stuff he said to her was textbook emotional abuse). However, I do have one criticism, and it’s something that really bothers me: There’s a continuity mistake with Ilia’s age. Let’s think about this: Ilia was always implied to be the same age (or around the same age) as Blake. In the part of this short where Ghira was still leader of the White Fang, Ilia appears and doesn’t look younger than in canon. But we know Ghira stepped down at least a few years ago. If Blake is meant to be a teenager in volume 1… there’s just no way Ilia could have been there and already been an adult. She’s supposed to have still been a kid when Ghira was leader, unless she’s at least a few years older than Blake – which I don’t think she’s meant to be? Yeah sorry, this kind of stuff just bothers me. I get that timelines can be hard to keep track off, but that was a really obvious mistake and it ruins my immersion a bit.

- I loved the whole opening fight on the train and just seeing team RWBY fighting together again.

- I’ve got to say, I do feel bad for Weiss: After everything she went through to leave Atlas, she now suddenly has to go back there. I mean, that must suck.

- I’m a bit sad they just but Ilia on a bus, but I get that her main conflict is pretty much over and they had to go back to focusing on the main characters’ quest. I still wish we’d have at least gotten a scene of her interacting with the other members of team RWBY, though.

- I really liked Ilia and Blake’s goodbye at the train station, though. (And the whole “wrong tree” moment with Neptune really made me laugh 😂)

- Also just wanted to say I love Ilia’s new outfit (and the fact that she has spots on her belly – this is really important information, okay?)

- There’s a certain irony in the Faunus becoming more accepted because they STOPPED Adam’s attack on Haven.

- I think Jinn and the whole concept of how asking her questions works is super cool.

- I totally get why everyone’s pissed at Ozpin both before, during and after Jinn revealed his and Salem’s backstory. He has been hiding an awful lot from everyone, even after promising not to anymore, and he actively tried to stop the team from finding out the truth. Plus, the whole fact that he doesn’t have a plan for defeating Salem and is potentially risking everyone’s lives for nothing. (That said, can they not take it out on poor Oscar, please? None of this is his fault.)

- Oscar fighting Ozpin from within and telling them how to summon Jinn was a really badass scene. And I feel super bad for Oscar overall. Not only is he kind of at war with someone who lives in his brain now, but he also just found out that he’ll eventually only become a part of Ozma. And on top of that, people are punching and blaming him for stuff that’s not his fault. That’s super harsh.

- I’m kind of glad Cinder’s alive, because as I said, I was hoping they’d develop her more and make her a more interesting villain… but I don’t feel like this volume did that. Right now, she’s still pretty superficial, unfortunately.

- And now, time to get into one of the highlights of this volume for me: Salem’s backstory! Because holy shit, that was one hell of a backstory! When I said back in my post about volume 5 that I hope Cinder’s alive because I would like to see them make her a more interesting villain, I didn’t expect them to do just that, but for Salem. I love villains that are interesting, but I didn’t expect Salem, the literal big bad of the show, to be the interesting one here! I am pleasantly surprised by this, though! (And just to be clear, because some people love to misunderstand this: When I say “interesting”, I don’t mean “She has a sad backstory, this excuses everything she’s doing”, I mean “She has a sad backstory, this makes her more compelling as a villain”.)

- So, about that backstory: Do we all agree that the gods are major jerks, or what? I mean, initially not bringing Ozma back to life was fair, death is a part of life, they can’t upset the balance, I get that – but making him repeatedly disintegrate in Salem’s arms after she just thought she’d gotten him back? And then making her immortal just to make sure she couldn’t be with him? And then killing ALL of humanity just because of the actions of a few? But still not letting Salem die? And then bringing Ozma back after all (because now it suddenly doesn’t ‘disrupt the balance’ or what?) and kind of tricking him into that whole relics task because he wanted to be with Salem? The god are jerks, I rest my case - and I’m not sure if bringing them back is a good idea.

- Also… I get that she’s like… evil and all… but am I the only one who thought Salem got way sexier after jumping into the pools of grimm? Is that just me? Because damn… I’m kinda into that version of her. (Come on, she’s a sexy goth witch and I’m a simple lesbian, what do you expect?)

- So yeah… in an unexpected turn of events, Salem might be one of my favourite characters now? Oops? (*insert obligatory ‘this does not mean I condone her actions in any way’ disclaimer here*)

- I feel super bad for Salem and Ozma’s kids, though. I hate kids getting hurt in media in general. (I imagine the grief over them stayed with Ozma forever. And I like the theory that he gave the original four maidens their powers because they reminded him of his daughters. In general, I don’t consider him to be the bad guy in this backstory at any point. His only mistake is not being honest with the people who are helping and protecting him in the present.)

- I am now convinced that this entire show has to end with Salem and Ozma dying. That’s the only way all of this can end. Salem will have to either be killed somehow or learn the lesson the gods tried to teach her and die. Ozma will have to fulfill his task and die as well – either through Oscar dying with him (😢), through only Ozma dying but Oscar getting to live without him, or through the reincarnation cycle ending and Ozma/Ozpin recognizing that Oscar is going to be his last life. Something like that would be my prediction.

- Speaking of interesting villains: This volume also did a great job with Emerald and Mercury! With those two, I’m actually hoping for a redemption now. (And Hazel is a great guy as well. The fact that he was willing to take the blame for their failure at Haven to protect Emerald and Mercury is something I really respect.)

- I also I want to say I find Tyrion super entertaining.

- It was great to see Neo again! (I’ve gotten so used to Chibi!Neo it was almost weird to see regular Neo again.) Her fight with Cinder was EPIC.

- (I basically feel like this volume did a great job on all villains except for Cinder. But hey, maybe that’ll still happen.)

- This was an interesting volume for Qrow. On the one hand, I get why hearing Oz’s backstory drove him into a sort-of depression and made his drinking habit worse and I feel bad for him, but from the point-of-view of Ruby and the others, it must have also been super frustrating that the one proper adult in the group couldn’t keep it together and everyone else had to keep doing the hard work.

- Maria is a super cool and epic character! I really hope she sticks around with the team for Volume 7 because she’s amazing and I love her. She was super badass in her backstory (that moment where she lost her eyes was painful just to watch), I love the fact that she was Qrow’s hero growing up (and that he based his weapon on hers!), that we finally met another character who has (well, had) silver eyes, and that she’s that funny, cranky, but also wise old lady now who mentors Ruby and is just super funny all around. Good stuff, I hope we see more of her!

- The Apathy are the creepiest grim yet. The whole concept of them draining you of your will to live without you even noticing is just SO scary – I love it, but I’m also low-key terrified. The crew’s trip to that farm estate could have easily gone very wrong. Pretty much nothing but Ruby’s silver eyes even worked on them. I like how those episodes set the whole thing up – Team RWBY having emotional conversations while they were in the house, everyone having doubts (which makes sense at that point in the story, so you don’t really question it at first), and then the sneaking realization of what’s going on. Also, the guy who sealed in those Apathy grim in in the first place was just so dumb. How could you think that was a good idea? Good job getting everyone killed, dude.

- I’m glad this volume gave us more on Ruby’s silver eyes! I like that she finally got to use them before the season finale (though I loved that joke on RWBY Chibi), and I also like that she first used them to protect Blake. (I don’t ship them as much as Bumbleby, but I feel like Ruby and Blake’s ship/friendship is super underrated.) It was also nice to learn more about how the Silver eyes work in general and how they came to be. (If they came from the god of light, I’m assuming all the people with silver eyes are the descendants of Ozma’s past lives? TV Tropes kind of helped me out here: Apparently if you freeze the picture where you see one of his past lives with his kids, you can see the kids have silver eyes.) People with silver eyes being hunted also comes as no surprise to me, that’s kind of what I was assuming already. (Which raises the question: Just how did Summer Rose die?) Also, interesting fact that they only work on the Grimm...

- That moment where they reunite with JNR in Argus was really sweet. I also loved the design of Argus as a whole.

- I LOVE Saphron, Terra, and their son!!! I love that we got to meet one of Jaune’s sisters, I love that we got some more LGBT+ representation, and their baby is adorable!! (I loved that scene of everyone cooing over the baby. Also, that moment where Ruby realized Jaune and Saphron were siblings. Also, that moment where the baby helped them distract the guards by crying.) Basically, I just love the Cotta-Arcs. (Also, I just want to say that Saphron is super pretty.)

- Cordovin and her two goons are hilarious. I mean, I also hate them because they’re overly patriotic Atlas-people and Cordovin was racist to Blake – but they’re also super freaking hilarious. Every little line of Maria and Cordovin’s beef with each other had my dying with laughter 🤣 (mainly it was Maria’s lines that had me dying with laughter).

- That whole scene with the statue of Pyrrha was such a tearjerker 😢. First the leaf, then the sad music, then Jaune talking to that red-haired lady (I’m guessing she’s either Pyrrha’s mom or sister?), and then Ren and Nora joining and giving Jaune a pep-talk 😭 😭. I think this was a really important moment for Jaune, not just to get closure, but also to stop blaming himself and putting himself down. I’m glad Ren and Nora told him they don’t want to lose him too, and that the red-haired lady said she’s “glad Pyrrha was surrounded by such amazing people”. Gosh, now I’m tearing up again writing this 😭. I miss Pyrrha 😭 😭.

- I love Oscar’s new outfit. It was time for him to finally drop the farm boy look.

- I love how Jaune is so down for crime that his plan is just “They only let Atlas airships though, so we steal an Atlas airship.” I mean, makes sense.

- I think their whole plan to steal the airship was super cool and although I get why things can’t be that easy in shows like this (and I love that we got the showdown with Adam), I still kind of wish it had worked just because it was a really cool plan and everyone had their part to play in it. Heck, even the baby got to help (and it was awesome)! But yeah, Adam just had to ruin everything, nothing new there.

- So, about Adam: First of all, he’s a major creep for victim-blaming Blake (again) and stalking her. I like how creepy his behaviour is from a story-telling perspective (and from an angst-loving “I like seeing my faves suffer” perspective), but his story was getting a little old, so I’m not too sad they killed him off now. It was a good point in the story to do it. (That said, holy shit is he a creep! “I wouldn’t have to be doing this if you just behaved”? Wow. I get that he’s meant to be abusive and controlling; that’s the point of his character (and like I said, I’m here for the angst), but… yikes, poor Blake.)

- And then we had Blake and Yang’s rematch with Adam. EPIC STUFF. First of all, I like that Blake was able to hold her own against him for a bit (and same for Yang later). I also love the whole dramatic setting by the waterfall and the fact that Blake lost her coat (this is important, okay? it symbolizes vulnerability – and also it just looks cool), the scar on Blake’s belly (from their fight at Beacon, right?), the face reveal of Adam – I just love how all of this was set up in such an epic, dramatic way. But the most epic moment, at least from the start of the fight, has got to be Yang just jumping down there with her motorcycle hitting Adam and that amazing music. I’ve said before that Yang is just too cool for words and I will stand by that. The fight itself was epic too, though I was so stressed the whole time I couldn’t completely pay attention. Blake and Yang fighting Adam together was definitely the best part, though. And I loved the irony of Yang’s metal arm saving her. In general, I like that Yang and Blake got to fight and defeat (and kill) Adam together because he’s been a demon for both of them, and I like that they clarified they’re doing it as equal partners. “We’re protecting each other” was a nice callback to earlier when Blake tried to reassure Yang she’d protect her, and to even earlier when Yang was protecting Blake at Beacon.

- Let’s talk about my other highlight of the volume: Bumbleby! Because sorry not sorry, there’s no way you can deny their romantic subtext anymore at this point. Early in the volume, there’s the conflict of things being weird between them, and Blake not knowing how to deal with her guilt and thinking she needs to protect Yang (and do stuff like getting her bag down for her) – while Yang feels insulted by this and thinks that Blake sees her as being incapable of doing anything now that she lost an arm. Then, when Blake first leaves to disable the comms, they give each other those really sweet, loving looks. And of course, it all leads up to them confronting their nightmare together, holding hands, and declaring that they’re protecting each other. Add Adam’s jealousy to that (He was making comparisons between himself and Yang and asking “What does she even see in you?” – that’s not a sentence you just say to your ex’s friend) and you’d have to be willfully ignorant to not see the subtext. And those soft moments after the fight just killed me: Blake breaking down crying, Yang immediately running to hug and comfort her, Blake’s promise not to leave, Yang reassuring her and wiping away her tears – I LOVE hurt/comfort stuff and I’m so soft for these two! They love each other so much!

(Pretty much the only downside of all this is that a few major parts were spoiled for me in advance. Look, it’s pretty impossible to follow lots of blogs that post wlw ships and not see that picture of Bumbleby holding hands, or the one of them hugging (or the one of them killing Adam) at some point. So yeah… I’d seen all three of those pictures before and knew this would happen. But it was still really nice to see it all come together and see how we got there!)

- The fight against Cordovin and her giant mecha was also pretty cool! It reminded me a bit of the Legend of Korra finale. Ruby going inside the arm canon was an especially epic moment. And I also liked that small moment when they were flying on the Queen Lancer and Ruby had her arms around Weiss’ waist (a bit of White Rose, yay!).

- I like that moment when the Grimm attack and the team first realizes they just destroyed the only thing capable of stopping them – but to be honest, that was mostly Cordovin’s fault. She brought out that mecha for something it wasn’t meant for and started the fight that attracted the Grimm in the first place. Also, how exactly did she think the people of Atlas would take it if she had actually hurt Weiss? So yeah, most of that mess was on her, tbh. I’m glad she at least came though to help in the end, though.

- Back to Bumbleby: Honestly, the strongest romantic undertones weren’t even in the fight with Adam or directly afterwards for me, but in the last episode when they’re all on the ship together. So, Blake is blaming herself for the plan going wrong, and Yang has an arm around, her, still half holding her and reassuring her. And then – and this one really gets me – Ruby hugs Blake and gives Yang that knowing look over her shoulder while Yang suddenly looks away shyly. They’re communicating without words and Ruby totally knows what’s up. She’s basically saying “So you and Blake, huh?” and suddenly Yang – YANG – is feeling shy. This isn’t subtle. And then later Bumbleby hold hands again and look at each other like that… they’re in love, I don’t make the rules.

- And finally, we of course have Ruby’s epic silver-eyed moment in the finale, which was AMAZING. I loved all the flashbacks and how they’re drawn pictures and not just stills from the episodes, I love how the memories of her friends motivate her, I love how much of Penny there was in there (bit of Nuts and Dolts, yay!), I loved seeing adorable little!Yang, and of course the first look at Summer Rose! (I still want a Team STRQ backstory episode at some point.) Also, the music during that scene was so good!

Gosh, now I’ve talked for way too long again, but there was just so much to say about this volume! Long story short: Loved it, can’t wait to continue! (I know exactly 1 major spoiler for volume 7 because it was unavoidable on social media, but that’s it. And it’s a spoiler I really didn’t mind knowing, so…)

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botwstoriesandsuch · 4 years

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Whoopsie King Rhoam’s a dick but I gotta flesh him out so

Read Part 1 here!

Part 2

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

‘sup ya beautiful bastards it’s time to gush about the process of storytelling and writing as we fix up the fix it fic so let’s just jump into it

- - - - - - - - - -

A quick recap of Part 2, and I swear this recap is faster than the recap last time: Chapter 3 of Age of Calamity opens with a more substantial scene the beginning points of Revali’s character, and contrasting the old position that Link and eggbot have, so that their later changes in this chapter (well, at least for Link in this chapter) are more pronounced. We edited a bit of the dialogue to make Revali’s intentions make a bit more sense, while also putting some little foreshadowing points with some camera tricks for the Hollow Champions. The Hollow Champions can now speak, which means their potential for being used to bring out the flaws or bitter aspects of each character is more readily available further into the story. And of course, we’ve introduced the main antagonist of Astor, and coupling his presence and dynamic with Zelda’s insecurities. While his intentions of needing Zelda for something is clear, his motivations and backstory remain a mystery as of yet, the only true clue we have so far being some sort of connection to eggbot.

I didn’t get any big asks or comments about Part 2 so I’m going to assume that it was mostly well received (although I will note that I promise I’m going to flesh out Revali to be more than he has been presented as of yet, this is just the very very start of this development don’t you worry your feather loving butts) that being said, you should totally critique me or give me your opinions or comments. I’d love to hear them! Although, keep in mind that I am restraining my rewrite to the guidelines already said, so don’t get mad at me for not killing off all the Champions or something. Thaaat’s a rewrite for another time. So yeah if you reblog you get a little kiss from me because believe it or not I spent a lot of time trying to rewrite an entire storyline while keeping it’s tone and integrity intact. So thanks much <3

Okie dokie then chaps! Let us finally delve into Urbosa lesbian vibes, a zest of Zelink angst, rants about pacing, and a couple tablespoons of Astor backstory, all starting in the latest stage of Chapter 3: The Road Home, Besieged

So right of the bat, big problem here. This Chapter follows directly after the events of Korok Forest, so you assume that maybe “The Road Home” refers to the team, going home, back to the castle, to tell King Rhoam what’s up. But...that’s apparently not the case.

So this entire stage, firstly, it brushes over any scenes where Zelda, Link or the other Champions might talk to King Rhoam about the Master Sword, or the Deku Tree, or...hmm what else happened last stage that might be interesting to see—oh yEAH HOW ABOUT that mysterious magic guy that tried to kill Zelda and was going off about the future and stuff?? That guy that wielded a bunch of dark magic and malice looking stuff and, uh yeah, you’d think it might be important and interesting to see the King’s take on was is essentially a wanted traitor to the crown who may or may not be leading the entire movement for the Calamity’s uprising. But nope, no one asks questions, no one says anything or has interesting conversations that reveal stuff about the plot. It's just….just all about Zelda and ooooOOooo she can’t awaken her powers oh no what’s a gal to do!

And I do mean that quite literally, this entire stage is all centered around two scenes with Zelda. The first, an admittedly narratively important scene of Zelda having a quick flashback about eggbot after he sings her a song, but it lasts for five seconds. And the second, being a pep talk with Urbosa as Link eats rocks in the background. For the majority of this stage, it’s all focused on Zelda, and pacing wise, it does virtually nothing to progress the narrative/plot forward.

And on paper, there’s nothing wrong with that! Hell, people read entire fanfictions dedicated to character development and relationships that have absolutely no external plot. Having a scene dedicated to just character development is completely fine, it’s something that’s pretty common and even encouraged to an extent. The problem arises when you remember that this is a story being told through the medium of a video game.

Now, I am going to try and breeze by this because, similar to Age of Calamity, I have to also construct this post with pacing that keeps my audience engaged, while progressing with my core narrative and story. But I highly encourage you to watch through this video by hello future me (On Writing: How to Master Pacing) because a lot of what I know about this I’ve picked up from his videos, and if you’re a writer or just someone who thinks storytelling is cool, it’s a great guide to the art of pacing.

youtube

Anyhow. There are two levels of pacing within a story. There is the small type of pacing, like for the structure of a singular scene. And there is the pacing of the overall core narrative, how the larger beats of the entire story is revealed. Good pacing for your core narrative is about whether the reader feels like they are getting closer to the big thing, the big climax or answer or promise of satisfaction. The smaller type of pacing, for your singular scenes, focuses on that timing between how close you get to achieving new information, this refers to your slow and fast pacing, tension versus rapid action.

So, overall the rule of thumb is: the amount of time you invest into your smaller scenes, even put together, that must correlate with a big enough payoff in the core narrative. That’s what good pacing is. (And that’s why people make stuff like the Three Act Structure to help visualize this pacing process but obviously other forms of pacing guidelines exist like the Five and Seven Act Structures but that’s too complicated for this Nintendo Game anyhow that’s just some educational flavour for ya to impress your highschool English Teacher I guess)

So knowing that, the question now is: Does The Road Home, Besieged contribute good pacing to the story? This is going to be my excuse for changing up other later scenes in the game, so when I mention pacing and narrative again, remember this. The time spent playing for thirty minutes, minimum, in the game, to only be paid off by two lines of character development isn’t good pacing. So the answer is “no.”

Delving as long an amount of time as thirty minutes, means that pretty much everytime a stage is complete, you must introduce new substantial progress to your story. A game like this just doesn’t have time to waste it’s valuable cutscenes on character development alone. There’s an even further wrench in the issue when you consider you also need to account for sidequests, so you could really be forcing your player to go through hours of gametime before you introduce new details in the story.

Obviously it’s not always gonna be cut and dry like that—sometimes you have to account for how enjoyable the gameplay is, and sometimes the amount of character development offsets any lack of narrative development—but for the majority of stages I’m gonna change, they all suffer this pacing problem. In a game that's entire story hinges on these cutscenes, bad pacing is just something it doesn’t have time for.

Anyhow anyhow anyhow, I got to get my dose of serotonin by talking about pacing writing structure and stuff and blah blah, so now I shall grace you with the changes that address these problems that would theoretically lead to vast improvement. I gave you this reasoning and backstory to writing because I am making hella changes, to hopefully make the experience more “poggers,” which is something the cool kids say these days if you didn’t know.

Firstly, timeline wise this stage is gonna take place directly after the Korok Forest battle. The gang is returning home from the battle, with Link, the new wielder of the Master Sword, along with this new information regarding a certain Astor character.

We open the same way it does in game, focusing on Zelda’s face, before the frame is suddenly blocked by the pommel of the Master Sword. A wordless way to express how the sudden revelation of Link being the hero has forced its way into Zelda’s mind, great use of camera Koei Tecmo 10 outta 10

Now I don’t want to immediately jump into Zelda’s “oh poor me I can’t awaken my powers” dialogue because—and this is something even Breath of the Wild is guilty of—This game seems to forget that there are other characters besides Zelda. It’s marketed towards kids, sure, but I assure you that kids playing this game have a longer attention span than 2 minutes. You don’t need to keep reminding the audience every single scene about how Zelda is anxious about her powers. It gets redundant, you waste the audience’s time, and therefore you waste your own time, because you could have been using that precious screen time to develop some other thing further. So anyhow, goes a bit like this.

Zelda’s walking, the Master Sword comes into frame. Zelda looks down at the ground but keeps walking, but you can tell from her expression that she’s troubled. Don’t need to waste time on dialogue for her here, show don’t tell, we need to make the most of the scene here. Camera is still on Zelda, but the focus blurs shifts from Zelda to the Champions behind her. We can start with Mipha, I don’t have my heart set heavily on any specific dialogue, but I want her to say something along the lines of “how proud she is of Link” and what an honor it will be to fight by the side of not just her dear friend, but also someone selected by the goddess to be the hero. Subtextually, I want her to say this in a tone that suggests that she doubts the need for her to be here at all. She’ll say something like “He’s grown so…” glances up at Link who's just walking ahead, “...so much stronger than I could ever imagine. [Something Something] His power has grown so much over the course of a few days, more than I have achieved in a lifetime.” She looks down, but she still has a sweet smile.

Now I’m doing this because I want to develop further this plot line of “getting stronger” that Age of Calamity sets up but never does anything with. Remember how in Chapter 2, Mipha asks Daruk to train with her to get stronger? I really like the possibilities of this arc with Mipha as it can not only parallel with her feelings for Link, but also make her character better as an individual. Mipha wants to get stronger so that she can protect Link, but now she thinks that Link’s already growing stronger to an extent that she might not be needed. She’s not jealous of Link, nor does she wish him to be weaker, she simply wants to be more than she already is. This is literally echoing her words that she left her father, about how leaving the Domain and experiencing new challenges would be “good for her.” So I wanna run with it. The dialogue here establishes Mipha’s motivation to grow stronger, almost equivalent to a rivalry of sorts.

So after Mipha says this, Revali scoffs and butts in. Again, I’m not too set on any particular dialogue here, just something like “Hmph! Well, I don’t know about that. Seems to me all that’s happened is some magic sword gave the knight an ego boost. Blade’s only as strong as the little Hylian who wields it, and—based on my own extended experience and professional observations of course—I’ve yet to see this ‘stronger’ boy that you speak of.” Another camera pan to Link a ways in front of them. “If you ask me, hero or no, that knight is still exactly the same as I first met him.”

Revali places a wing on his chest dramatically. “Perhaps if you’re truly keen on seeing growth in skill and strength, Mipha, you’d do well to—”

“Flattering of an offer as that may be, Revali,” Urbosa interjects, “But I think Mipha might find it difficult to observe growth from one of the shortest Rito in Hyrule.”

Cue laughter from others or snickering or something. We just need some banter to add a bit more flavour to the characters. Revali can do a little huff and cross his wings or flip his scarf or something. But then Urbosa continues.

“Although...he is right about one thing.” Urbosa looks straight ahead. “A sword does not alter a hand, just as strength does not alter character.” She puts a hand on Mipha’s shoulder. “Grow as he might, there is no doubt in my mind that he is the same boy as he’s always been.” Urbosa looks up in the direction of Zelda. “Whether you realize it or not.”

Ok so, scene’s not done yet, BUT quick gush on the dialogue flow here. I’m trying to establish parallels in these character perspectives based on the flow of conversation. We started with Mipha who, like I said, wished to grow stronger along with Link. This flows into Revali who also has a similar parallel as he wishes to grow above Link’s shadow. But the distinction between Mipha and Revali is that Mipha think’s Link’s strength is earned, and Revali thinks he cheated, gaining authority through a magic sword, and not through merit and skill. Thus, leading to Revali’s perspective of Link being exactly the same as he’s always been, he believes the sword doesn’t change anything. Urbosa then speaks, because she thinks exactly the same thing. However, her distinction is that Link is the same as he’s always been: a determined young boy earned his place and cares for his friends. Then she looks to Zelda who, as we know, will develop a perspective that contradicts this. So you get it? This scene is like 20 seconds long but it already mirrors nearly all the character parallels and perspective, that’s why the flow of dialogue is important. And I know half of you probably think these kinds of details are a stretch but I promise you it’s not, just look at any movie or show ever and I guarantee you can find similar stuff there too. Ok moving on moving on—

Urbosa looks up at Zelda, comments her, “He’s the same boy, whether you realize it or not” piece of dialogue. Camera shifts back to Zelda and Link, who, idk if I mentioned this, but in the scene there’s enough distance between the Champions and Zelda and Link that the Champions can speak without the other two listening. So they didn’t hear any of this.

So the camera is back on Zelda, and now we can get her “How can I…..If I am unable to awaken my inner power….” line. Eggbot senses her sadness, does his little cheer up dance, Zelda gets a flashback.

One small change I wanna make to this flashback: Instead of just a baby Zelda going “nighty-night” I want there to ALSO be a figure in the background behind eggbot wearing a silk royal blue dress. And said woman has blonde hair and she’s by the table back there. We don’t have to show her face or anything because Nintendo hates that. Just place the woman somewhere in the back somewhere

Also possibly you could add the shadow of another figure by the doorway, maybe? It would serve good continuity purposes for the plot points that I’m telling, but that part is not as necessary. I just need at least the woman there.

Then Zelda is like “I remember you” to eggbot and all that and blah blah… Now, instead of Impa offscreen just yelling “enemy ahead!” I just want it to be a full on ambush. Not like a major one, but just enough where the group is surprised a bit. Maybe on the cliffs above, a lizalfo throws a boomerang, or a bokoblin shoots and arrow, or even just throws a rock. I don’t really care. I just need this to happen because…

As soon as this danger is presented, Link turns around to grab Zelda’s hand and they start running again. And he can like use his body to try and shield her a bit, I need it to parallel how he acted during Chapter 1 on the road to the Royal Tech Lab. However, this parallel has one important distinction because…

Zelda rips he grip from Link’s after a moment. “You don’t need to coddle me!” She says, or something along those lines. “Y-You...You’re the hero aren’t you! I’m perfectly fine, you don’t need to spend your precious time playing babysitter to me.” In the distance, a horde of monsters is beginning to form. Zelda looks between the monsters and Link’s Master Sword, her expression unreadable. “Well? Just...just go do what you need to do.” Link hesitates, looking between her, and the approaching monsters. Zelda speaks more sternly now, “Go!” So Link, not one to disregard an order from the Princess, gives one last look to Zelda before setting off towards the monsters. Maybe Zelda can take a deep breath to steady herself after he leaves, but as soon as Link unsheathes his sword, the metal glistening in the setting sunlight, it cuts immediately to gameplay. Start battle.

For essays’ purposes this is the part where I explain why this is better than the original. So here’s my reasoning:

Uhhh, it just is. :3

Ok but seriously, I’ve already talked a tone about why the pacing and dialogue flow is better than the original. But also this scene doesn’t just say “Ooo Zelda is sad about her powers,” because that’s not interesting. Like I said, it’s redundant information. What is interesting is see how characters deal with that internal conflict and how it affects their relationships. AKA Zelda’s relationship with Link, who now basically embodies the success that she’s been working so hard towards but never achieved, is deteriorating a bit. I wanted to get that sense of the Zelda that we see in Breath of the Wild because all things considered, they should be roughly the same character.

So that’s that, you fight the battle, the Hollows show up a bit, so insert “dark evil Champion” dialogue because if you’re gonna use the evil clone trope might as well use it to the fullest. Then you fight the Talus and hurray horrah the day is saved.

Then we have that iconic Urbosa motherly pep talk to Zelda as Link eats rocks in the background. Now honestly, I’m not that big a fan of the first half of the dialogue, so I wanna change it into something more interesting. But the rest of the beats and camera work go roughly the same.

Zelda: “Link is...so much stronger now”

Urbosa: “‘And yet I have not.’ I presume that’s what you’re thinking, hmm?”

Zelda: “Well it’s true, isn’t it? More and more, monsters have been appearing around Hyrule. It is a sign that the Calamity draws near. So...there isn’t much time. And still, no sign of my power awakening.”

Urbosa: *sighs* “Little bird…”

Zelda cuts her off, in an attempt to change topics: “Why do you call me that?”

Urbosa: “Hmm?”

Zelda: “Little bird...I feel like I’ve heard it before. Why do you call me that?”

Urbosa, after a beat looks off in the distance or something: “A long time ago, my dear friend would call me to the palace, or perhaps invite herself over to mine, [she chuckles] ...and she would talk with me all day, and ask me to gaze upon her little bird with her. Her dearest daughter...a princess”

Zelda: “You mean my…”

Urbosa just smiles with a soft nod: “Back then, times were a bit different. The destiny that you have was still upon the Queen, who worked day and night to refine her powers and fulfill her destiny. In just a few short years, I went from being friends with a Queen, to friends with the destined sealer of the Calamity.”

Another pause, before Urbosa speaks again: “But...she was still the same woman I had grown with. Still the same loving mother who spoke about her little bird with joy. She had not changed one bit.”

Urbosa: “Even when your mother passed, her loving smile was there until the very end. She always loved you—believed in you, Zelda. She had great hope, great faith that her daughter would grow into the beacon of light Hyrule needed. That even with her gone, you would spread your wings and fly, because you were just that amazing to her.” *Urbosa puts her hands on Zelda’s shoulders.*

Urbosa: “Destiny did not change your mother’s love, just as it does not change Link’s courage, or your value.” *the camera can pan to Link eating rocks now*

Urbosa looks directly at Zelda now: “Look how hard we’ve all worked to get this far, how hard you have worked to get here. While we may grow in strength, in that regard, we’re all one in the same.”

Zelda: “...I….well…”

Urbosa: “What did the Great Deku Tree say? There is no need to fret princess.”

Urbosa: “Our faith, Link’s, your mother’s, it’s all as strong as ever. And everyday, with every moment that you travel towards your destiny, it just grows. It is always with us. So believe in that, have hope, yet, little bird.” *Eggbot can scurry up and make cute noises here next to Zelda*

Urbosa: “I know, you are where you need to be. You must accept that too.”

Zelda: “...”

Zelda gives a solemn nod: “Thank you, Urbosa.”

So that’s that scene! Don’t let the length fool you, it’s technically even shorter than the original scene in Age of Calamity. So why is it, in my opinion, better? Because for one, we actually get an insight into Zelda’s mom and Urbosa’s relationship, something that was PROMISED To us but never given and I’m still a bit salty about it. Anyhow, in addition to just getting some lore details, that relationship between the Queen and Urbosa is important for this scene because, just like Urbosa spells out, it’s in direct parallel with Link and Zelda.

Before the Queen suddenly got sick and died, she was destined to seal the Calamity. But she didn’t let that destiny change her, she was still the same loving mother to the end. Now that is something that Zelda needs to realize about Link, as his newly acquired destiny doesn’t change who he was before, the knight who cares for her and wishes to protect her. Zelda needs to realize he’s the same and that she can still trust and confide in him. Hence, that’s why this mom backstory is in this scene and not somewhere else, because it serves to the narrative but also more impactfully to the character development.

The dialogue could probably be polished a bit more but come on, not half bad for an improvement yeah? So that concludes Chapter—

SIKE we’re not done yet. We still have to move into the entire point of this stage, the road home, to the castle.

So, badabing badaboom, I’m adding an entirely new scene from scratch right here at the end, because it is VITAL that I set up something new about the story, as a sort of clincher. So anyhow

Zelda is alone with her father, let’s set it in the royal library (Intact, not ruined, of course) because we don’t see enough of that location and it’s really cool. So Zelda is briefing her dad about the events in Korok Forest and on the journey back home. I know I always gush about cinematography but it can’t be fully appreciated since I’m….writing,,, this, BUT I think it might be fun if the side shots of Zelda have her background be some bookcases of the library, maybe half bookcases and the other half the ornate walls. Then the background for the King’s shots is the full symmetry of the elegant staircases.

[And if you needed the specific reasoning for that, because it makes camera shots more fun. Like when Zelda says something that aids in her scholarly side, the camera angle can change slightly where the bookcases take up more of the frame, and then when the King’s will takes more power, then the book cases can be angled a bit more out of frame. And then the symmetry of the King by the staircase is a way to show his higher power dynamic to her, and contrasts well with Zelda’s shots since the bookcases are dark and the stone is lighter, so on a meta level is also makes it easier for the audience to understand where they are. Shot composition is fun ok, and that’s not even getting into color theory (Thinks about Baby Driver and LaLaLand....even videogames like Undertale and Hollow Knight have such wonderful shot composition and use of color theory hhhhh love it)]

Ok so Zelda’s briefing the King in the library, she’s standing while he’s sitting at a desk. There’s maybe two or four Royal Guards on the staircase entrances, but for the most part, they’re alone. You can tell that this meeting between them has been going on for a bit now, as from Zelda’s dialogue, she’s retelling events midway through the story.

The King is flipping through some paperwork, not really looking Zelda in the eyes. She continues speaking.

“And so...with the malice cleared and the monsters being dealt with, Link and I made our way into the heart of Korok Forest.”

The King hums a response, flipping through another page. “And this is when Link pulled out the Sword that Seals the Darkness then, I presume.”

Zelda paused, as of thinking of how to phrase her next words. “Not exactly. I...we both encountered someone beforehand. A man, with a pale face, and dark hair and robes, and he had the power to control malice, using a strange object in one of his hands.”

Rhoam stops writing in his journal or whatever. He doesn’t look up, but the sudden stop he makes is obvious. Zelda notices, but continues.

“He talked about...the Calamity, and my birthday...destiny, and the future….I’m not quite sure I can remember his intentions word for word. But he did introduce himself as—“

“Astor…” Zelda and the King say simultaneously. The King has fully perked up now, looking at Zelda. She’s pleased to see a reaction from him. The King rises from his chair, and starts pacing a bit, stroking his beard thoughtfully like the asshole he is.

“So you know him then? This Astor man? Who is he, father? What does he—“

“Were you alright? Did he hurt you, or mention anything else?”

Zelda pauses for a moment before shaking her head, as if the concern he was expressing was uncharacteristic. “N-No. No, I’m fine, and Link was there. During the battle, as Link fought him off, that was when the sword was pulled. Then Astor fled, or...” Zelda pauses for a beat, “retreated...he expressed his wish to speak with me again.”

Another beat of silence, as Rhoam gets up, hands clasped behind his back. “He used to work at this very palace.” The shot is now directly on Rhoams back, as he faces a bookcase, although it’s clear that he’s just deep in thought, and not just staring at books. Rhoam is in third column of the shot (he’s to the right, not in the center)

“A trusted advisor. Someone gifted with foresight, who many years ago, had first predicted the coming Calamity.” Cut to shot of Rhoams face, the camera being by the bookcase, so that we see Rhoam’s expression and Zelda’s.

“In truth, I thought him dead. For the last time I saw him alive—truly, truly alive—was ten long years ago...” The shot goes back to the original establishing shot, of Rhoam facing away from the camera, towards the bookcase, he’s standing to the right, hands still clasped behind his back.

“...when your mother still graced this earth.”

From left frame, a younger Astor walks up and stands beside Rhoam. He runs his fingers along the books. Rhoam looks to his left, as if he is seeing Astor. Camera cuts to Astor’s right, as if looking at him from Rhoam’s perspective. He continues brushing his fingers against the spines of the books, before he finds the one he’s looking for. Pulling it out, he opens the book, flipping through its pages, before giving a genuine smile. Cut back to wide angle behind them. With the book, Astor starts walking back out left frame, but this time the camera follows him. Filter fade to a memory tint as the camera pans right to left

[when the camera fades fully into the Astor memory, the figures can have that silhouetted effect like you see in botw. Cause I know Nintendo hates making new character models for some reason.]

So if it wasn’t clear already, even though the memory filter doesn’t come immediately, Astor isn’t actually there, but it’s just a flashback. I’m a sucker for merges, which is something this game and botw NEVER do which bugs me because there are so many creative ways you could introduce flashbacks without just doing “ooOooOoo fade to sepia filter and then oooOOooOOO we fade back to reality and no time has passed.” I apologize if my explanation of the camera doesn’t make sense as it’s hard without much visual aid, but hopefully it makes sense so far. Anyhow! Let’s continue.

We’re now fully immersed in this memory, but King Rhoam’s voice still narrates overhead.

Astor brings the book to one of the desks in the library, where a woman sits writing something onto paper. News flash, it’s the queen. Astor hands her the book and starts speaking about something, although you can tell the tone of their conversation is light, almost akin to Zelda rambling about Sheikah Technology. The Queen laughs about something unheard, as Astor continues ranting about something, his hands moving to like a professor giving a lecture.

Rhoam Narration: “When he had first predicted the Calamity, things were much more hopefully for our kingdom. As although his foresight granted him only glimpses and fragments of a future, he was almost certain that with the Guardians, and the strength of your mother’s power, our victory would be absolute.”

Scene changes to the Queen walking down a corridor, Astor is leaning against the wall by a window.

Rhoam Narration: “He and your mother would often work together tirelessly to study the ancient arts, to make the most of the powers given by the goddess.”

The Queen has walked up to Astor now. She crouches down and gestures to her left, the side not yet seen by the camera.

Rhoam Narration: “In fact…”

The camera changes to focus to where the Queen was looking towards—a young Zelda, crouched behind her mother’s dress, stares up at Astor.

Rhoam Narration: “I would not be surprised if you found within yourself, a memory of such.”

I would prefer if you could see the expressions of Astor (giving Zelda not a smile, but not really a frown or anything rude either) and young Zelda. But I guess it can also just be silhouettes too cause again, Nintendo hates giving us younger character models outside of first person POV stuff. Anyhow.

The scene fades, the light from the window dimming as everything darkens.

Rhoam Narration: “I often times wish we could go back to such a time, when victory and pride swam in every corner of this castle. But of course…”

The scene brightens again, although not as bright as before. It’s the exact same corridor with the large window, but now it’s raining. A young Zelda stands alone in front of it, looking outside.

Rhoam Narration: “Such a time did end…”

We now cut to a new scene, King Rhoam is walking down a hall, the camera’s perspective is of a bird’s eye view, like we’re peering in from outside a window. We can see the shadow of Astor chasing after him, as he starts speaking frantically about something, not quite, but almost to the point of shouts.

Rhoam Narration: “After your mother died, the visions of the future shifted drastically. No longer was there glimpses of rolling fields and shimmering skies, but instead, of rubble, red earth, and death.”

You can now more clearly hear the words coming out of Astor’s mouth. He is telling something about failure, and souls, and the Calamity to the King’s ear. He’s still walking forward.

Rhoam Narration: “He was adamant that our demise was now coming faster than ever, and that without your mother, we were doomed. That even you, should you take up your mother’s mantle, could not save everyone.”

Astor: “I’m telling you Your Majesty, if you go down this path, there is no going back.”

King Rhoam: “There is no other choice, we are moving forward.”

Astor: “I don’t think you quite understand the true gravity of the fate you’re choosing for yourself. It is a guarantee that you, me, and countless others shall die.”

King Rhoam: “I don’t want to hear it.”

Astor: “And of course, there are a multitude of possibilities, but the end result is the same.”

Astor: “Do you have a preference, perhaps? Crushed by rubble? Suffocation under ash?”

Rhoam’s tone is deadly: “Stop.”

Astor: “I’ve seen fire too. I’m not yet quite sure the exact circumstances that lead to flame appearing and spreading so quickly, but rest assured that if you—”

King Rhoam: “Stop.”

Astor: “If you saddle someone else with this duty I am absolutely certain that you and I will—”

King Rhoam, voice not shouting, but still with a booming intensity: “Just like you were so certain of our victory 10 years ago?”

Astor’s face darkens. He’s silent for a moment, collecting his words before practically spitting the first articulation: “...That, future, was the one that would come to be if Her Majesty was alive. If you’re so unsatisfied with my departed wisdom you can go ahead and flail around with destiny alone. You think I choose for these events to happen? You think I lie when I saw I want what’s best for this kingdom—”

King Rhoam: “What’s best for you.”

An ugly pause.

King Rhoam: “It is decided, Seer. It’s time you accept this. My wife is dead. That is the truth. Thus the role of sealing the Calamity shall pass to my daughter. She will work to awaken her own ability. It will be her duty to save us.”

Astor half laughs: “A child?! Surely you don’t need the supernatural to see how foolish that is.”

King Rhoam’s voice is even more stern: “You are living proof that the future is not absolute. Therefore I...must place all belief in her ability.”

The King walks away, leaving Astor alone. Weirdly, he smiles. Perhaps to mask some other emotion.

After another moment, Astor yells to the King: “I’ll fix this! Alone if I must!” He’s chuckling as he shakes his head. “Your useless faith may cost many lives, but even so mark my words, I will fix this.”

The King looks back, but says nothing, his expression unreadable. He continues forward, leaving Astor alone chuckling, or perhaps something in between chuckling and crying to himself.

Rhoam Narration: “We haven’t spoken since that day. I simply left him to his devices. If he was so determined to find another way to stop the Calamity, then who was I to stop him. I doubt my word could have swayed his mind regardless.

We’re now looking at a room, the camera is just by the doorway, looking at an office, circular and domed. It’s stone brick walls are covered in parchment and ripped books, covered in symbols and frantic writing. An old Sheikah tapestry hangs crudely on the left wall, and the window on the right seems to tint grey, or even a deepest crimson. Centerframe, is the back of Astor, robe hanging just above the paper ridden floor. He is flipping through something on his desk.

Rhoam Narration: “Fixated as he was on the perfect future that you mother might have led, I still had hope that with time, he might still assist you with your destiny one day.”

The camera slowly comes closer to Astor. We can see more clearly the type of stuff that sprawls the papers and books and diagrams across his office. Some depict stars and constellations, and even a few notes on Ancient Technology, although in a noticeably cleaner font. However, as the camera moves close and closer to Astor, the papers and books depict only one clear topic: the aura of death that comes only with necromancy.

Rhoam Narration: “It seems…”

Astor finally reacts to whatever he was doing on his desk. You don’t see his eyes, but as he fully turns around to face the camera, you see his smile, along with him holding a dark orb of unknown energy. It hovers in his hand.

Rhoam Narration: “...I was mistaken.”

The camera cuts to a wide angle, looking at Astor from behind a stack of books on his desk. The stack of books on Astor’s desk brighten in color (from the memory dull filter), until the scene fully fades back into the Royal Library. The camera is now focused on a similar stack of books on the desk behind Zelda, where Rhoam was working before.

Zelda is still looking at her father, who is still turned away. Now, he turns back around to face her.

“He had disappeared completely one day, so it was my understanding that whatever he was working on killed him. However, if he is truly back as you say…”

Rhoam walks closer to Zelda, close enough that he might have put a hand on her shoulder, but his arms stay behind his back.

“It is in your utmost interest to prove him wrong. I know not what he plans on doing, but it would be wise to stop him before he does.”

Rhoam turns away now, pacing back to the otherside of the desk. “But, your more important priority is unlocking your powers, understand? Now more than ever, is not the time to get distracted.”

Zelda, taking this all in, takes a deep breath. She then nods at him. “I understand...Father.”

After a moment, the King makes a motion as if to dismiss her. She starts to walk away, her thoughts churning in her head, heart thumping to the same beat as her echoing footsteps. Suddenly, Rhoam calls,

“Zelda.” It’s not a question, but the tone is asked like one.

She turns back, looking at him, expectantly. Rhoam only stares at her, an uncharacteristic moment of uncertainty for him. The words he wants to form seem stuck in his throat, until finally, he lets out a quiet breathe through his nose, before simply saying:

“You must.”

Zelda can only frown, her shoulder’s slumping slightly, as she ducks her head and leaves.

- - - - - -

And that’s that! That’s the complete end of Chapter 3. So tune in next time for Chapter 4, including a new slight but important story changes, Yiga husbands, and shocking turns of events.

Edit: I forgot that posts with link’s dont show up in tag results so a rb is appreciated :p

#Hwaoc: The Kip Cut #fuck this is the biggest one yet #hwaoc #age of calamity #hwaoc rewrite #hw age of calamity #hyrule warriors age of calamity

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naivesilver · 3 years

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@bewilderedmoth FINE. Fine. Since today is a Monday and therefore a day much more suited for a vitriolic commentary on terrible insects, I shall fulfill your request and the anon’s. I’m warning everyone in the premises, though - this is a “no fucks given” list, so it may get ugly at any time. Also, as usual, this is only for things that I’ve already watched, so if you know of some cricket horror and don’t see it mentioned, assume I’ve yet to get to that specific adaptation.

Alright then! To the barricades!

1) Disney’s Pinocchio (1940)

The first of his genre. Look at this asshole - he’s literally the last creature I’d entrust my child to. The fact Pinocchio had to spend his first couple days of life with this guy shadowing his every step is mind-boggling, and it’s made even worse by the fact that the Blue Fairy put him in charge of another man’s kid, as though she had the right to make that choice.

(I won’t fall for the desire of dunking on the Fairy more, as this is a Cricket list, but believe me, the temptation is there. It always is.)

As Disney sidekicks go, he’s one of the worst. He’s not funny, and despite having literally ONE job he manages to fail spectacularly at it. He’s snappish at Pinocchio, he abandons his charge about two hours into the new day, he spends a much longer time flirting with female-presenting inanimate objects/animals/supernatural beings than doing any actual childrearing. He should have been forgotten the instant the movie left the theaters, but instead Disney made him one of his main mascots, giving him the role of storyteller or ghost or whatever the fuck they need him to do at the time. So not only is he single-handedly responsible for every other entry in this list, I keep finding him everywhere I turn my eyes to. A knock-off version of his Ghost of Christmas Past self was in the new Ducktales, too, so my friend freenklin (who already has had to endure many of my complaints) received some VERY disappointed scream-texts as I was liveblogging my watch.

Just...no. Get him out of my sight.

(Also Ewan McGregor is bound to voice him in the live action and like??? Excuse me??? Are we supposed to not make Obi Wan jokes??? Will he abandon his young padawan Pinocchio to the evil Strombolitroopers???)

2) Pinocchio and the Emperor of the Night (1987)

This movie is at the bottom of my Pinocchio adaptation ranking, and boy, does it deserve the dishonor. The story is a weird mixture of adaptation and sequel, approximately a tenth of the characters actually appear in the book, and I can’t forgive them for ruining what could have been the coolest concept ever (Pinocchio as a pawn in a fight of good vs evil) into this disgrace of a cartoon.

As for the Cricket, in this case he’s not even a cricket. He’s a glowworm, and he’s a goddamn puppet too, to whom the Fairy gave life. I wonder, is the entirety of her job just...transforming people’s creations into sentient beings so that they can lead others to a honest life? Tell me, ma’am, do you want to breathe life into my disappointing Powerpoint presentations too, so that they might bully me into graduating?

Anyway, if you’re wondering what purpose Gee Willikers (sigh) serves, the answer is NONE. Pinocchio gets rid of him at least twice (good for him) and as easily as drinking a glass of water, he’s a burden to the (admittedly cooler) additional characters, like the aviator bee, and not only is he ugly as fuck, but also so annoying every time he gets a chance to speak that it’s a miracle he wasn’t cut out in post-production.

In short, disgusting. If he entered my home I’d swat him with a flycatcher until he leaves.

3) Pinocchio (2009)

This is essentially Disney’s Jiminy Cricket, but female, anthropomorphic, and with a passion for books instead of pretty ladies or ladies-adjacent objects. Mind you, a sapphic Cricket would perhaps have saved more than one adaptation, this one included, but I’m glad they skipped that part altogether. This miniseries has enough issues as it is.

I’m sorry, she’s just too annoying. Luciana Littizzetto can be funny, but in small doses, otherwise her jokes start to become repetitive. Two hours straight - and yes, it’s that much, because SOMEONE decided to follow Disney’s footsteps a little too well - are too long even for the strongest of hearts. Plus, none of the characters’ costumes are very flattering, accurate or well-made (except for Lampwick 💖), but hers just might take the cake. It looks like a mixture between a teenager’s first attempt at steampunk fashion and a Mardi Gras costume lifted from the discarded items’ bin at a cheap store. Takes you out of the fantasy more than anything else.

4) Roberto Benigni’s Pinocchio (2002)

I’ve talked at length of the weirdness of this movie, but all in all it’s a pretty accurate transposition of the story, from the dialogue to the scenery.

Except for him.

The Cricket in this case does appear in the scenes belonging to him, but ALSO in a long and extremely useless sequence where he tries to find Pinocchio in the Land of Toys and gets kicked around by literally everyone present. Don’t get me wrong, that’s something I would have liked to do as well, but it was totally unnecessary, and it gave nothing to the overall story. This movie still holds the record as the most expensive Italian movie ever made, so wouldn’t it have been better for everybody to skip that part entirely? Not only it would have saved them some money, but also it would have saved me from seeing this guy for an additional fifteen minutes on my screen.

Still, pretty tame compared to some of the others. Could have been worse.

5) Once Upon A Time (2011)

I debated long and hard before making this choice, and I’m not putting him in with a light heart, but before you come at me with pitchforks, please listen.

I like Archie, okay! He’s a fun character, the human side of his backstory was great and gave him a lot of depth and inner turmoil, and the concept of Jiminy Cricket being a therapist is amazing and hilarious. But he’s kind of a shit therapist, whose actions aren’t always what you’d expect from someone who’s supposed to be a conscience and a guide. And despite the show giving us the impression that he and Pinocchio had the same adventures as in the Disney movie (which doesn’t exactly endear him to me - if it wasn’t for his later character development he’d already be Lil Nas X-ing his way down to the bottom of my list), he and August never interacted on screen after the First Curse broke. Not once. And if there’s someone who needs therapy and support, that’s August Wayne Booth.

Yes, I did say at some point that I’d like to fix this in a fic. I’ll write it when I don’t have like eight projects on my table at the same time.

Finally, two scenes settled the matter for me: one, him pontificating at Snow about her trying to do everything on her own, without even pretending to help her set up the stroller she was struggling with at that very moment. I work with kids every day, I know exactly what she’s going through. Shut your mouth and open the damn stroller, Archie.

And two...That one fucking scene where he’s jumping out of Snow White’s cleavage. Honestly, what the fuck??? I wouldn’t even have remembered it if Libby hadn’t reminded me, so I suppose my brain tried to remove the traumatic memory before it caused any further damage, but it exists, and I’m still wondering why. What exactly was the deal with the writers, when they made that choice? I want a glass of what they were having, because by God, does it sound like a trip-inducing cocktail.

Aaaand we’re done! Remember, this is all part of my personal opinion, and I’m not to be taken seriously even on the best of days. Plus, my favorite cricket-esque character, aside from the book-accurate ones, is Gina from Piccolino no Bouken, who is a duck, a sassy little bastard and no closer to Collodi’s canon than any of these fuckers. So yes, when it comes to choices dictated by the heart, I am an hypocrite. Au revoir!

#the amount of time I spent of this is not comparable to the lampwick post #but it's still A LotTM for a cricket rant #meme gif included #pinocchio

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gamesception · 4 years

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So, the Infinity Train is bad, right? Not the show, the show is great, but the train itself within the show.

Spoilers, below.

Including spoilers for the end of season 3.

Like, ok, it's trying to help people work through emotional problems and maladjusted/antisocial personality traits. Benevolent intentions, at least when humans are concerned, seem sincere enough. And sure, it worked for Tulip & Jesse. But while maybe not deliberately malicious, the train is trying to serve a moral function with an automated, amoral system that doesn’t work and is fundamentally inhumane.

Especially to the denizens it creates. However artificial they may be, seasons 2 and 3 especially make clear that they are fully realized actual people, and the train just makes them up on a whim and suborns their entire existence to the passenger's personal growth. Life for a lot of denizens is pretty horrific. Not just Lake being hunted, but kick-me toad, the wind guy, several denizens seem created to suffer an existentially nightmarish existence so that their suffering can teach some passenger a moral. Even the ones that aren't created to suffer still face perpetual risk from ghoms, passengers, & other dangers of the train, and are still trapped in a single car, or risk being forever separated from that home by the movement of cars if they ever leave it. Even if the system works to help humans, creating an entire subordinate class of fully sapient creatures and then treating them as expendable tools in furtherance of that goal is kind of horrific & bad?

And that's before you consider that therapy train isn't even very good at what it does. Like, looking at the memory tapes we've seen, the things that land people on the train aren't that bad? Like, they're bad and all, but they're still things that people can and do work through and overcome in the plain old regular ass world. None of that shit seems like stuff that would be easier to work through with the help of isolation from human contact and regular mortal peril. The success rate among characters we've met isn't especially high, and one one himself has admitted that, statistically, passengers are more likely to die than they are to get their numbers to zero and get off the train.

Which would be bad enough if the passengers were adults, but most of them are little children! Which, like, of course. Because whatever inhuman system is choosing the passengers seems to key in on self centered behavior and uncontrolled emotional outbursts as criteria for passengers, and sure those are signs of maladjustment in adults, but they're also just normal conditions of children and young teens who are still developing socially and emotionally?

In season one, it could be readily imagined that the train only picked up people who were otherwise going to die. Tulip ran off into the snowy night in Wisconsin & easily could have frozen if not picked up by the train. Amelia, standing next to the tracks before the train even appeared, seemed like she could have been contemplating suicide. And based on that reading, the risk of death is slightly more forgivable. But implied in season 2 and explicitly in season 3, the train can pick up anyone at any time, so yeah, you could easily imagine a kid lashing out from some traumatic abuse they can’t process ending up on the train to become monster food when without the train some teacher or counselor could have intervened to actually help them.

We don't get to see Simon's backstory before the train, but according to the numbers, it wasn't as bad as what happened to Grace, and wasn't all that far removed from Tulip's issues with her parents. Could any bad thing he did before entering the train have justified the traumas he was subjected to from the moment he got there? Did he really have a better chance on the train than he would have had off of it? Yeah, he made his choices, I'm not saying he "didn't deserve" his fate, but how did any of the stuff he went through constitute helping him? Not all of this can be blamed on Amelia’s usurpation of the train. Even without One One, Tulip shows that the train was more or less working as normal outside of the cars Amelia directly tampered with, and even after One One was back as conductor, the dangers of the train - from flecs to ghoms to laval moles - were still very real.

And if the train wasn’t helping Simon, that only makes all the suffering that it allowed various denizens to experience at his hands by abducting him in the first place all the more unforgivable, since there was never a point to him being on the train at all. Unless he was only there to serve Grace's growth? There’s not a lot of reason to think that, but it is a possibility since without Simon reflecting her worst actions back to her, Grace might never have grown in the way she did. Was that an accident, or intentional on the train’s part, with Simon’s fate an acceptable cost of Grace’s redemption? If it was that would only be worse, since then the train then wouldn’t just be failing to recognize that it's own creations matter as much as humans that exist apart from it, it's also actively choosing to damn some humans to save others. Either the train is dangerously incompetent, or actively malicious here.

Or consider the flecs, the ‘mirror police’ antagonists for most of season 2. I doubt many felt bad for them when they died. After all, they chose to become flecs, and chose to repeatedly try to murder Lake just for wanting her own life. Unlike Simon we don't see a string of humanizing traumas driving them towards those choices. But did they actually choose any of that?

In s2e8, Mace questions not just Lake's existence, but the entire existence of the mirror world, implying that their memories and personalities are as artificial as their bodies, constructs created by the train to teach a passenger a lesson. He drives the questions at Lake, but the same reasoning could be applied to him. Did Mace become a flec after his prime died, or are those memories fake, and he was always a flec, created by the train to be a villain in a little morality play for Tulip's & later Jesse's benefit? Did Mace ever really have the choice to be anything other than the monster he was? And even if he did, would that absolve the train of a measure of guilt in creating Mace to be that monster in the first place? Did the train intend for him to catch and kill Lake after Tulip & Jesse had returned home, cleaning up loose ends? One One seemed to jump at the chance to let Lake off the train once her trick of reflecting Jesse's number provided an adequate excuse, but before that he also seemed perfectly willing to go with Sieve's suggestion of resolving the conflict by just killing her.

Again, that’s not to say the flecs didn’t deserve their fates, or that it was wrong of Lake to kill them. Mace in particular questioned the entire purpose and reality of the mirror world, which means he had the self awareness and philosophical insight needed to question and reject the role the train had created him for, and even while dying he instead chooses to use that insight as just another way to vindictively deny Lake’s person-hood. He chooses to be every bit the monster he was created to be, and Sieve makes the same choice even seeing the fate that it led Mace to. They didn’t “deserve better”, but them choosing to embrace their predetermined villainous roles doesn’t reduce the train’s accountability for creating them to fill those roles in the first place.

So yeah, Trauma Train is a fantastic show - imo s2 is still the best, but s1 and s3 are both very solid. But within that show the train itself is a dangerously negligent therapist and a willfully unjust deity, and if Infinity Train does get future seasons I hope that aspect gets further explored and deconstructed. And I think it will be. Like, I don’t think any of this analysis is an unintended edgy dark reading for the heck of it. Season one could have left you with a neutral or positive impression of the train, but the fundamental systemic injustice of the train is, like, the explicit text of season 2, and while Lake managed to trick her way free, the underlying system she fought to free herself from is still in place in season 3.

That said, I kind of hope one way or the other that the show is done with grizzly on-screen deaths. There's a lot of good lessons for kids in the show, important stuff about handling life changes, dealing with grief, the importance of self identity & self determination. And much like the train is a bad therapist for trying to traumatize its victims into self improvement, the show becomes a bad vehicle for the lessons it's trying to teach if the scenes of shocking violence are what stick most firmly in younger viewers memories.

#infinity train #spoilers #infinity train spoilers #call out post #for a fictional mass transit system

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d-l-landcaslil · 4 years

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My opinion on why is Endeavor’s redemption arc valid

I’ve been thinking about writing something like this for a while, but somehow I never did. But now I’m just going to ramble to cope with the anxiety the latest chapter gave me hhhh

So a lot of Endeavor stans get the question, why don’t we hate him, and I think this is a valid question (as long as you don’t attack us immediately and assume that we support all the wrong thing he’s done!). And I’m not here to convince anyone to like Endeavor. You can hate him, he deserved it. Just please don’t wish for his death in the current arc of the manga because if that happens everyone is fucked you don’t want that and also it hurts This for those who actually ask this question because they’re interested in the answer.

So here’s the thing. First of all I think he’s an amazing hero. Let’s not forget that he has the most solved cases ever, which means even more than All Might! He saved thousands of people. And his skills are just hella amazing, he is competent in almost all types of combat, and while AM gains his physical strength from his quirk, Enji’s quirk itself doesn’t provide it, it probably took him a lot of heavy training to get there. Sidenote for this he is hot af and can step on me any day and I’ll thank him. Of course his heroic actions are no excuse for the abuse he did, but in my opinion the abuse he did does not diminish his merits as hero either. I admit this is arguable, but these are my views even on irl people of similar kind.

So yes, I admit, as a person, he is extremely problematic, he abused his family, and it’s not something to be overlooked. But also his character is amazingly written. I think his backstory is one of those elements in the story, that tries to bring attention to the problems with the hero society. And boi, there’s a lot to unpack there. Firstly, what he represents is sadly common in real life too: that people (especially men) serving at the police, in the army, etc are abusing their power this way and getting away with it because of their rank. But not only this. This leads to even more complex problems within the entire hero community. And this is the rivalry between heroes and the toxic masculinity in the hero community. Now I’m not the one to quickly agree with Stain, because I’m fed up with the cliché of heroes having to be fully selfless (it’s their job and they need to eat and pay rent bruh) and that the whole system is corrupt BUT the fact that the hero ranking exists and forces the heroes to compete with each other is so wrong on so many levels. And of course there are certain heroes who can actually let this go and only focus on the job itself (e.g. Hawks), but there is a lot of pressure on everyone and not all of them can escape it. Don’t tell me it’s normal that Kiri had an inferiority complex for years bc he was too scared to attack a villain three times his size in 4th grade of middle school

And I think a lot depends on the family background. Notice, how the students/heroes who are not coming from a hero family or a family that expected the to become heroes (Deku, Uraraka, etc.) are way more chill about the whole thing, because they parents are proud of them af whatever little heroic thing they do. When it comes to Enji, we don’t know anything about his parents/family background but I have a really strong feeling that he was pressured into the marriage with Rei and into always being the best. Here’s why. We know that Fuyumi is 23 and there’s ~three years between the kids (bc that’s when the quirks appear) so Toya is probably 26. Enji is 46, so he was 20 when they had Toya. So he got married even before he became 20. Now don’t tell me a 19-20 yo young man, who has just graduated from UA (probably with flying colors) and already aims to be nr1 would decide to get married and have kids - even if he’s madly in love, nevermind out of convenience. (And even if he was in love with Rei /but he wasn’t/ and wanted to marry her, any descent parents would have stopped him.) Yes, he probably agreed, because he felt like that preserving and passing down his quirk is important, and that he himself is not enough to be the best and he needs a descendant who can do the job for the family reputation if he fails. Of course it’s all just assumption but DON’T TELL ME THAT THIS ALL WOULD HAVE HAPPENED if he just had A SUPPORTIVE FAMILY TO TELL HIM THAT HE IS A GREAT HERO AS HE IS AND HE DOESN’T NEED TO COMPARE HIMSELF TO OTHERS. NO, THEY DIDN’T TELL HIM THAT. Instead they used their money and power to arrange a quirk-marriage and set him up to be a husband and father while still struggling to become nr1. Now add this to Enji’s inherently grumpy, quick, aggressive temper, take away from him the chance to properly socialize with ppl of his age - and you get the textbook abusive man who brought the bad patterns from the family, added his own frustration and took it all out on his family he never really wanted. He might be an inherently bad tempered person. But no-one is born the way he is now. He could have unlearned a lot of it if the expectations of the hero society hadn’t fucked him up at a young age.

But he did what he did and there’s no excuse for that so let’s see why his redemption is still valid in my opinion. Also it’s more explicit manga spoilers from here (basically he talks about his future plans for his fam in the manga and I’m going to talk about it in detail).

So what many abusers would probably do is to start acting kindly and try to win back their partner/family by promising to change again and again. But Endeavor doesn’t do that. Not only is he willing to stay away from them, but it’s him who stays in their old house and he’s planning to build a whole new house where the kids and Rei, who he wants to get out of the hospital he put her into (!) can live. without him. I had someone who told me they think he wants to be reunited later and he just gives them time but there’s no proof of this and it’s still not that bad. So yes, he admits that him staying away from them is the solution AND he uses his money and power to fix the situation as much as he can. Of course there are a lot of things he can never fix and my stomach still clutches when I watch his past in se2 but HE HAS LEARNED THE LESSON, HE ADMITTED HE FUCKED UP AND HE’S WORKING TO FIX IT AS MUCH AS HE CAN. And I can’t help to cheer for him to able to do that, because that’s the only outcome that’s good for everyone.

Besides that, the scene where he tells Shoto he will do everything to make him proud and be the hero he can look up to always makes me cry shows how he admits his mistakes too. He takes the things he said to Shoto, the expectations he raised towards him and admits that he himself haven’t fulfilled those expectations, so he needs to do that in order for Shoto to accept him. So he basically reversed the roles, he reversed the order of power, and he applies what he abused Shoto with to himself, but this time in a non-toxic way. Also, in the Endeavor agency arc we already see how he has a different attitude towards Shoto as his student. One more thing: you can see in that scene and also several times in the manga how he feels like shit when the kids are ignoring or confronting him. And even I think he deserves all of it, BUT this again proves THAT HE. HAS. LEARNED. HIS. LESSON. Yes, he was extremely abusive. No, it cannot be forgiven. But he basically admitted that he was one, got out of the life of those who were affected, tries to change and supports them from the distance. That’s the best he can still to in this fucked up situation.

And as I witnessed his journey so far, I couldn’t help to start liking him. I cheer for him, I hope he can really change, I’m always excited to see him in action, and I’m really worried about him in the current situation. I think there’s way more potential in him than it was shown in the beginning. I hated him first too. But somehow he became my favorite pro hero and one of my favorite characters overall.

This is the answer. If you read all this rambling you deserve a medal.

A closing thought: I think it’s understandable that everyone reacts to Endeavor differently. He is the type of character who divides even the canon characters nevermind the fandom. It’s really interesting to see how all his kids react to him differently, and how they basically represent types of the ppl’s attitudes in the fandom. I realized I’m the Fuyumi type. But of course all are valid. But Dabi types please please let us mourn in peace if the thing happens QwQ

#bnha #boku no hero academia #mha #my hero academia #my hero academy #bnha manga #bnha manga spoilers #bnha spoilers #endeavor #enji todoroki #my post

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rachelbethhines · 4 years

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Tangled Salt Marathon - Max’s Enemy

This might be the second worst episode of the first season, right behind Rapunzel’s Enemy. Don’t ask me why episodes with the word ‘enemy’ in their titles are bad in this show, they just are.

Summary: A new horse, Axel, shows up in Corona and quickly shows up Max in every way, even joining the royal guard and beating all of Max's former records. However, only Max sees the devious nature of Axel's behavior; his true intention was to rescue Lady Caine from the dungeon, along with the gold transfer already planned.

This is Another Episode That’s Shown Out of Order

Once again, this is one of those episodes that was meant to be shown after Queen for a Day. Only moving this episode around isn’t the problem, it’s the fact that the writers didn’t think through the over all story of the following seasons.

Ideally, this episode should have been switched with Under Raps. It wouldn’t have changed much in season one’s plot but it would have set up the reveals in seasons two and three better.

My recommended viewing order would be after Great Expotaions

Max’s Enemy

One Angry Princess

Queen for a Day

Painter's Block

Pascal's Story

Big Brothers of Corona

Not In The Mood

Under Raps

The Wrath of Ruthless Ruth

Way of the Willow

The Quest for Varian

Then from there the rest of the season as is. It’s basically the original production order with Under Raps switched with Max’s Enemy, but only placed before TWoRR because in it King Frederic sees the entry about the balloon.

We’ve Already Forgotten That Lance Has a Job

If this is suppose to take place after Big Brothers of Corona as intended, then why is Lance still helping Eugene with guard duty instead of being a cook, also why wasn’t he at the Snuggly Duckling in TWoRR if he’s meant to work there. Like some consistency would be nice show. Especially, if you want to have an overall arc with character development.

Parallels Have Do Something Other Than Just Exist

Jealousy and validation is a recurring theme in the show. That’s because it’s the crux of Rapunzel’s and Cassandra’s core conflict with one another, which in turn becomes the main conflict of the last two seasons. Only here’s the thing; that’s not a nuanced enough conflict to be sustainable for three seasons and simply having other characters randomly encounter this same conflict every other episode does nothing to actually stretch that main conflict out.

A parallel has to actually add something to the show. It either needs to permanently push one of the main or supporting characters forward and help them develop, or it needs to pull double duty and be a plot point for the overall arc.

I’ll go with Star Wars for example. There’s an obvious parallel between Luke wanting to redeem his father, Vader, and Rey wanting to redeem Ben/Kylo Ren. The movie The Last Jedi even points this parallel out directly to the audience. That’s because one fuels the other. Rey is inspired by Luke’s story and wants to do what he did. The parallel become both a point of character development for both herself and Ben and also becomes a major plot point in the following two movies. That’s how a parallel is done.

No one learns anything from this. No one grows. The status quo is not changed in the slightest. Max doesn’t become a different person by the end, Rapunzel doesn’t apply whatever lesson she says she’s learned here, and Cassandra isn’t even present in the episode.

Dream Sequences are Lazy

Ok, not all dream sequences obviously, but ones that only reiterate what the character is feeling are.

I was watching a commentary on The Incredibles DVD, and in it, the director Brad Bird was discussing why they cut out a planned dream sequence for the film. There was no need for it. It spelled things out too much the audience. A good writer shows what a character is feeling without the use of overt symbolism.

A proper use of a dream in a story is to make it a plot point. Is it a prophecy that pushes the characters to take action, like in Star Wars? Is it establishing that a character even has problem, a problem like PTSD for instance? Is it an excuse to get an elephant up in a tree? What is it?

Have your dream sequence actually do something or otherwise you’re just wasting everybody’s time, speaking of which.

This Episode Is a Waste of Time

We talked about filler fatigue last episode, and that was mainly because of poor pacing, but here it applies because of poor plotting. People just aren’t invested in seeing Max get a rival. A rival who does nothing outside of this one episode. We’d rather focus on the ongoing story or one of the other established plots. Instead of this episode we could have had, an episode focusing on Varian and his time spent as fugitive, more backstory on Corona’s past with the Saporians and/or Zhan Tiri, or even just an episode fleshing out other recurring baddies, like say oh, Lady Caine or the Baron for instance.

Rewarding Bad Behavior

Regardless of whether Max was right about Axel, he did indeed behave badly. There’s no acknowledgement that he was in wrong as well and that acting upon your jealousy is bad. In fact the show not only justifies this poor behavior by making Max’s rival a villain it also has Rapunzel reward Max with the validation he so desires by apologizing to him. Even though she actually didn’t do anything wrong herself. The show doesn’t want to hold it’s mains accountable for anything and so no one learns or growns and the wrong lesson is taught.

Hi, Lady Caine

Bye, Lady Caine

What should have been the main villain of the series is treated as no more than a convenient plot point. She was presented to the audience as a major player, with a complex backstory and deeper motivations then the usual one off baddies. But since then she only makes two more appearances, is easily defeated in each, and her backstory and original motivation is all but forgotten. She doesn’t even get a bare bones basic resolution. She’s just dropped from the story altogether.

That’s not some clever bait and switch. That’s just poor storytelling. It’s a lack of set and resolve. It’s misleading to your audience to the point of frustration and wasting a great concept so you can piddle around with crap that don’t actually matter.

Conclusion

Out of all the mandated ‘animal’ episodes that marketing pushed for this is one of the most useless. It would be the worst if not for King Pascal in season two, and it’s easily the worst out of all the Max focused episodes. These characters aren’t meant to carry stories of their own. They’re aren’t complex enough for that. You have to pair them with some other character or story concept for it to work. Overall the episode is boring, stale, and predictable because of this.

#tangled #anti-tangled #tangled the series #rapunzel's tangled adventure #max #maxumius

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comesassylostchild · 5 years

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Why Cass IS Worse than Varian and Also A Worse Villain

Alrighty let me just start by saying NONE OF THE BAD THINGS EITHER CHARACTERS DO IS EXCUSABLE OR OKAY Now with that out of the way I’m sick to death of people excusing Cass but still treating Varian like a horrible person So lets take a moment to actually analyze the differences between them Lets start with this The main excuse for Cass is that she is being manipulated by ghost girl. Remember that MANIPULATED she’s not being controlled she’s being manipulated. Cass has the power to not listen to ghost girl, actually think about what she’s doing and stop doing bad things but she chooses not to. All for the sake of getting power that she wants to satisfy her personal issue of wanting something Rapunzel doesn’t have. Rapunzel and Varian have given her multiple opportunities to back out of the villainous path she’s on and even work out the problem and she still chooses to keep going. All of this to make herself feel more important while she throws herself a jealous pity party. A tragic event that happened when you were 4 doesn’t justify her behavior especially when Rapunzel didn’t have any choice in the matter. As for her current life, I do understand that she is in a job she doesn’t like and wants to do more with her life. I also understand how it must feel to be the lady in waiting to Rapunzel and feeling like your dad kept something important from you. But I’m sorry to say, most people get stuck in jobs they don’t like and have something more they want out of life. That’s just the way life works out a lot of the time and you have to make the best out of it. She’s also an adult and can just leave to find her own path if she isn’t happy. She’s an adult she is capable of making her own decisions of not doing bad things and can choose to leave if she isn’t happy. And again she’s being manipulated not controlled so she has the ability to not listen to blue girl but chooses to do what she tells her to despite Rapunzel trying to solve the problem and work things out with her. I know it must be hard for her to be Rapunzel’s lady in waiting when others tell her she’s a servant and Rapunzel has some big destiny and Rapunzel can unintentionally say or do something to make her feel less important. But Rapunzel has at every opportunity done everything she can to show Cass that she values her as a person and friend. Cass is the one who refuses to talk things out even to solve a problem between her and Rapunzel so you can’t fault Rapunzel for not being able to read her mind and I know Rapunzel can slip up and say or do the wrong thing that hurts Cass unintentionally but Rapunzel is still learning how to interact with others and deal with the world. She’s only been a part of the world for around two years of course she won’t perfectly handle complex issues and emotions. Cass also is flat out rude to other people including Eugene and sometimes even Rapunzel and she gets upset when Rapunzel unintentionally makes her upset but Cass refuses to talk things out. Cass has not only gotten angry at her own father but even attacked him for not telling her Gothel was her mother but attacked him without even letting him explain himself. Cass makes an assumption that her own dad lied to her out of selfishness and attacked him even though he has only ever tried to be a good father to her and she attacks him without even a chance for him to explain himself. The problem with Cass is that she is hurting people when no one is trying to hurt her or even treat her like a villain. She attacks Rapunzel and even tries to kill her even though Rapunzel is trying to work out the issue with her not fight but Cass refuses to listen and fights anyway She attacks her dad even though he has only ever tried to be a good dad to her. The kingdom isn’t out to get her but she says ‘give me the scroll and I’ll leave Corona in peace’ meaning she would attack the kingdom if Rapunzel didn’t give her the scroll. Cass is being a villain to people even when no one is trying to hurt her. She’s deluding herself into thinking there’s a war when there isn’t. Yes I know that’s what blue girl is trying to trick her into thinking but one tragic backstory doesn’t excuse her for not being able to think logically like an adult 5 seconds and see that what she’s in the wrong. She has the power to choose but always makes the wrong choice. Cass is also upset about not getting a chance to shine but she was awarded for taking down Andrew, given a chance at a guard assignment and being trusted to lead the battle against Corona. She gets what she wants but its never enough for her Now Varian Let me start off by saying I know his actions are wrong and I know they were his own choice. But there is a big difference between Cass and Varian 1. Varian was in a really bad situation that he was trying to get out of just going about it the wrong way and was pushed to his breaking point while Cass is fighting a war that only exists in her head which I will always say I know is ghost girls manipulation but Cass has the power to choose and see what’s right and wrong and chooses wrong anyway 2. Varian had the kingdom against him before he did anything wrong while Cass is hurting people even though everyone wants to resolve the issue, she’s the only one making this into a bigger deal then it should be, she’s starting a war where there isn’t and refusing to resolve the issue. Once again I know that’s ghost girls manipulation but Cass is still capable of making choices and she’s given multiple opportunities to resolve the issue but refuses every time. Also Varian was very much a kid on his own and scared while Cass has people reaching out to her that she refuses to listen to. 3. Varian was fighting for the specific goal of saving his dad he just went about it the wrong way until he hit his breaking point and snapped while Cass is fighting for vague destiny that doesn’t belong to her but she says it does like a child and wants to hurt Rapunzel who has basically done nothing to her while Varian actually had a reason to be angry at Rapunzel who let him down in his time of need (it wasn’t her fault during the storm I know) and didn’t bother checking on him so he suffered a great loss alone. Cass gets angry at Rapunzel for saying wait when Rapunzel has no idea why that bothers her while Varian gets upset that Rapunzel said promise when Rapunzel would know exactly why that would bother him, because she broke an important promise to him. 4. Varian blaming Rapunzel is wrong no doubt about it and we know the amber is in part his own fault. Firstly though part of the reason Varian even touched the rocks when he was told not to is because Quirin wouldn’t be honest with him of why he should stay away from them while the situation was getting worse. While things were getting worse Quirin just expected Varian to take his word without being honest why he should listen to him. Varian still disobeyed him which was wrong but it was partly Quirin’s fault for not being honest. Varian not excepting his own fault in Quirin’s encasement and blaming Rapunzel is wrong. But Remember, as far as Varian knows his dad is dead, which means accepting its his fault would mean Varian accepting that he killed his father which is a terrifying thought for any kid. Its wrong that he blames Rapunzel but its the reaction of a scared kid terrified that he killed his dad. Cass simply targets all her anger at Rapunzel because she needs something to be angry at. Both Cass and Varian are kind of the same for blaming Rapunzel just because they need something to blame. But Varian at least has the reason of being a kid who is terrified of being the reason his dad is dead. Cass has 0 reason to blame Rapunzel other than she’s sad and needs someone to blame even though she’s an adult targeting her anger at someone because she needs someone to blame like a child. Cass and Varian do most of the same things so lets look at it side by side Choosing to take the sun/mooddrop Varian did it because he was in a desperate situation running out of options because knowing Varian he defiantly tried everything he could to free his father but nothing was working and the sundrop seemed to be his only hope of getting his dad back. Tricking Rapunzel was the only way of getting it other than force because the kingdom already hated him for attacking the princess when he didn’t. He even was driven out of his own home by the kings men trying to cover up information, There was no way he was going to get the flower other than tricking Rapunzel or force and he had to trick Rapunzel because he knew she likely wouldn’t let him have it either. And he has a point that it is just sitting there rotting and this is his only chance he has of saving his dad. Also we see later that Varian crushes it so the sundrop is gone and it doesn’t effect anything. The kingdom is against him when the flower being gone doesn’t effect anything and it does not belong to the king. He wanted it to save his dad but of course he wouldn’t get it other than tricking Rapunzel or force because the kingdom was against him for attacking Rapunzel which he didn’t. I will say Rapunzel begging him not to take the flower was his only chance out but he thought he had the solution to his problem and everything would be over while Rapunzel had no solution to offer and already let him down which makes it understandable why he didn’t back out when Rapunzel told him to stop. But that is the only time someone tries to actually reach out to him. Varian didn’t have everyone reaching out to him like Cass did which he desperately needed and would’ve taken while Cass just keeps turning down people reaching out to her. And before anyone says anything whether or not Varian unintentionally hurt Rapunzel a little in his panic it was clearly obvious that he was scared and begging for help so the kingdom being against him for attacking her wasn’t fair because it was only an assumption that he attacked her when he was clearly begging for help and scared. So Varian only chooses force to get the sundrop later because he has no other options and the entire kingdom is against him. I am in no way saying that makes what he does okay but Varian was not given any other options Cass stole the moonstone knowingly putting the fate of the entire world on the line for her own personal gain just because she’s jealous and wants her own destiny. She’s only thinking of herself not caring that she’s putting the world in jeopardy for her own personal satisfaction of destiny. At the very least even if what Varian was doing was wrong which it was it was to save someone’s life. Using the truth potion Both Cass and Varian used the truth potion to get information. However with that information Varian was only planning to steal the flower to save his dad, he was not planning to use that information to hurt anyone. Cass used the potion to get information she would use to hurt someone. Varian did drug the palace as a distraction. But he had done it by giving adults cookies so he used a trick and didn’t force anyone into take the potion and adults were dumb enough to fall for off colored cookies from a stranger in a bush. Varian didn’t force anyone into taking the potion, adults were just dumb enough to fall for off colored cookies from a stranger in a bush and Varian didn’t mean any harm to the palace by doing it or any harm with the information. Cass drugged an unconscious minor to get information with the plan of hurting someone. Cass drugged an unconscious minor which is giving him literally no choice in the matter. Drugging a conscious adult with an off colored cookie from a man in a bush at least means the adult had the chance to see the red flags and they weren’t forced into taking the potion. Varian literally had no choice in the matter because Cass drugged him while he was unconscious. She also put an entire bottle of potion in his mouth while he was unconscious which he could’ve choked on and used an entire bottle on one person. And let me just say Part of the reason people are disturbed by Cass drugging an unconscious minor is because of the real life uncomfortable territory. Drugging a kidnapped minor while they are unconscious to make them give into what the adult wants. That is very uncomfortable territory that I know the tts crew was in no way trying to allude to but it is uncomfortable that they wrote that in without thinking of the real life uncomfortable territory that the scene is unintentionally treading around making the scene a bit uncomfortable. Both Varian and Cass threatened people Rapunzel cares about to get to Rapunzel. Both are not okay. Varian at least has the reasoning of not only trying to get at Rapunzel but his kingdom failed to help him when he desperately needed help and the kingdom was against him even before he actually did anything wrong which made it why he grabbed Arianna and Cass who were innocent. Not only to get at Rapunzel but because the kingdom failed to help him and hated him before he actually did wrong. And no one ever reached out to him which is why he went as far as he did while everyone is constantly trying to reach out to Cass but she turns them down. Cass even decides to hurt Eugene similarly to Varian hurting Arianna and Cass but Eugene literally had nothing to do with the conflict so she is involving and hurting Eugene just to get at Rapunzel and no other reason. Varian was a desperate kid in a really bad situation who needed help and no one reached out to pushing him to him to make bad choices. Cass is a grown adult acting like a child wanting to hurt someone for selfish and petty reasons just to make herself feel better and and her excuse of being manipulated doesn’t work since she is being manipulated not controlled she has the ability to choose but chooses wrong every time because she’s too busy wallowing in her own self pity to listen or think clearly. Varian did what he did because of a really bad situation. Cass is doing what she’s doing because she’s wallowing in self pity and making a mountain out of a molehill.

#tangled the series #tangled #tts #rapunzel's tangled adventure #tts cassandra #tangled cassandra #cassandra #Varian

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tonya-the-chicken · 4 years

Text

I wrote this post some time ago as a reply to someone and now I somehow want to post it again with some changes lol

TW: mentions of murder, referenced canon abuse and swearing

Let’s talk about redemption arcs and people’s overwhelming desire to punish fictional characters for what they did... Inspired by Endeavor hate ngl... I mostly speak about fictional charcters in this post so pllease, don’t go dumb and understand that fictional characters and irl people should be treated differently

I think sometimes people don`t understand why punishment exists in our society at all. Like, why couldn`t we just forgive? Why punishment is needed? Oh, I would like to talk about behavioural psychology, but it is kinda creepy so instead let`s remember what my teacher of LAWS said(idk what you call it in your bitchass America)

Punishment basically serves two functions:

Preventative (show others and a person that they can’t just get away with their deeds). Like, if you knew that there are no negative consequences, wouldn`t you do it? Wouldn`t you kill the old lady?

Correction and all work with a person in general (for example, you can be forced to go through some psychological help)

Also, I lied there’s one more: compensation. Like, if you stole something, then bring money back, you little shit. Or pay for therapy for your victim

So when we put it into stories and so popular nowadays redemption arcs (which I fucking adore if they are done correctly) we have 4 points out of this 3 cause the first one can be put into two

Character is punished to show others that this is not something you should do (it’s a kinda societal thing and has nothing to do with character in particular. This point in general is not interesting because it doesn’t drives changes in person by itself)

Character is punished so he himself would think twice before doing this shit again (we can’t know if person’s remorse is genuine so it’s better to simply scare them. But I can allow skipping this point if person’s remorse is clealy shown to be genuine and we as readers understand that. That’s probably the big distinction we, as readers, should see: while irl we never know persons true motives, work of fiction can provide them to us clearly)

Character changes and understands what is wrong in what he has done (the part of redemption we all love and enjoy)

Characters work hard to correct or atone for their mistakes

As we can see first two bullets has nothing to do with character development and serve for the purpose of maintaining order. The third one IS a character development and the last one is what makes people actually forgive horrible actions and not go ape shit I guess. But for some of us nothing is enough, isn`t it?

And there is one more shit that is often in redemption arcs and that shit is great and I fucking love it

Explanation of the character’s behaviour, their reasoning and motivation

I truly enjoy reading about WHY characters behave a certain way but people, remember, SAD BACKSTORY IS NEVER AN EXCUSE FOR YOUR ACTIONS. Same goes to your mental problems and hard life situation. The fact that behaviour can be explained doesn’t mean shit. Like, behaviour also follows certain laws and despite the fact that it’s sometimes hard to understand all the details we still theoretically can explain ANY BEHAVIOUR. Does this mean we can excuse any behaviour? HELL NO

So remember folks, “They had their reasons to do this” means nothing most of the time. “I wanted to try how it feels” is actually a valid reason to kill someone, you know. Of course, if crimes is not severe, reasoning suddenly can be very important like we won`t punish harshly someone who stole bread cause he is starving or cause he has kleptomania (I mean as a literal disorder). But even in that case you must pay back money cause like stealing is bad but eat the rich

let`s talk examples from bnha cause why not

Endeavour

We have Enji oh my baby you have done so much stupid shit you dumbass. Sad backstory even if will be brought up in the future, currently is not a focus of redemption at all. Like, he even doesn`t explain his behaviour too much. “He want to be the strongest, so he decided that even if his genes will make it to the top it will be enough. As a result, blinded by his goal, he abused his family”. Basically, it`s all the explanation we have right now. And if Hori stops at it I will be fine with it. Honestly, as much as I want to learn more about Enji’s past if Horikoshi leaves everything at this I would give him nothing but mad respect cause... This kind of shows that your reasoning doesn’t matter that much if you did horrifying things

So 3 points to redeem someone

Enji didn’t suffer any punishment for his actions (nightmares are considered punishment only if you believe in God. Also, too weak, God, try harder... And same goes for High-End). When I think about him being punished I actually worry about society’s reaction cause, like, he is number 1 hero and the fact that he’s an abuser will be, like, very shocking to simple people.Trust in hero will fall harder than my will to live during 2020. And honestly, media would just turn this into a drama possibly hurting other members of his family, like.... Enji being legally punished for his action would be an interesting plotline but in general I am not a fan

We see his genuine remorse and character growth. We all agree that he even is drawn differently now changed and trying to become a better person, yeah? Clumsily at first, but he genuinely works hard to be a better peron, hero and father. I can respecct that

Compensation… Well, you can exactly “correct” trauma so he should pay up for psychologists for each child he probably should follow the path of atonement and try to give them something he robbed them from. Like, go to family dinners with Fuyumi even though every last one of them is a disaster and nobody is happy to be there. Or make everything possible to provide Rei calm life with her children (like building a new house, yes, this is an amazing thing) or at least become *reducted cause I wanna this post to be serious and SFW*... Tbh I have nothing to say, he himself says multiple times that he seeks nothing but atonment, not even forgiveness

So like you better work bitch to make your family happy bastard... [And tbh they seem so much better then when I first wrote this post, I am so proud of you, my garbage fire man]

Overhaul

In no way is he redeemed but somehow people put Overhaul and Endeavor stans in the same category so here he goes

Kai has something Enji doesn’t: very good and detailed explanation, a plan, a smart reasoning. His wrong deeds were basically for a better good he believed in. But we all collectively hate him for what he done to Eri despite his actions having r E A S o n S. Dude has some MOTIVATION. So like yeah bros. It makes him an interesting character and he is an amazing villain but dude deserves to rot in prisons. He shows no remorse and I am gonna bet he won`t even think about somehow helping others. Dude is a shitty person. And I fucking love him

So let’s go for our 3 bullets again

Punishment. Yes, he is punished, he is in jail with both his hands cut off. Would it make people forgive him? Nah

Personal growth. I would like to see it but as far we saw barely no growth... Though maybe being in jail without quirk will make his brain work

Atonement... Dude has a Messiah complex, I ain’t waiting for that anytime soon

So I asked myself if I had two men: one who spent a sentence in jail for child abuse but is more or less the same person and another who wasn’t punished for his abuse but feel genuine remorse and actively try to make things better who will I choose? Of course, I will choose Pikachu

But is it possible to redeem Overhaul? I wonder if there`s a force in this world strong enough to make him become a better person. Welp... I am a sucker for redemptions, justt letting you know

All for One

Oh, he is irredeemable (and this is sexy). Why is he here? Cause, well

Even if he is punished there`s no punishment severe enough to describe how horrifying his deeds are

Even if he is to feel remorse… he has like 500 years or something??? And he didn`t feel anything killing people??? So why would he change today?

Even if he atone for what he’s done… I am to believe he started at least a civil war. You can`t atone for that bitch. You crossed all fucking lines, all fucking lines

AfO is literally the most evvil man in bnha... I don’t want to see him redeemed cause I love characters that are pure evil and I love the despair of realizing you can’t fix what you have done. Though you are free to have a different opinion! Who knows, maybe Horikoshi will make a classy redemption for him and I will scream out of excitement? Cause I am that kind of bitch??? Who knows! I just love to think Doctor Ujiko is gay for him

Anyway, why do people like to make this characters suffer? Like, Endeavor, Minoru, Overhaul, many others? Is this part of the “punishment” to feel like person paid for their deeds? Or do people just like fictional violence and punishing “bad” characters make them feel good about themselves? Who knows

I have no idea what this post is about I want to sleep and I like Enji though if you dislike him this is fine. I hope it was interesting reading this, love you all bye

Don’t kill me for my controversial takes, I am depressed

#overhaul #endeavor #all for one #redemption arc #bnha #bnha meta #yea I do classify my bullshit post as meta BYYE #bnha endeavor #bnha overhaul #enji todoroki #kai chisaki #boku no hero academia #don't take this too seriously though #original post was written when I was on heavy meds #so idk #my post #really hope you enjoy it #long post

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