#especially with the whole best friends being on the opposite sides of war trope

[unicornblossom13]

[Catadora & Megop Parallels]

At the start of Transformers One, I think Orion Pax was a bit more similar to Catra, as both were stuck in jobs they were unsatisfied with and wanted to do something more with their lives.

Meanwhile, Adora and D-16 were more serious minded and content with following the rules and work their way up in an environment that was unfair, and sometimes cruel, but was all they knew.

However, in the second half of the movie, when the truth is revealed, that’s when they switch roles.

Orion wanted to fix the corrupted system, trying to avoid using horrible and unnecessary methods if possible. Adora wanted to immediately stop the Horde once she realized what their true intentions were, joining the Rebellion to fix the damage they have done.

On the other hand, D-16 became more and more consumed with wanting revenge against the lies fed to him his entire life. Now, while Catra was well aware of the Horde’s true nature, she desperately wanted to prove her worth to those that constantly doubted her since she was a child.

So driven by their desires and goals, both D-16 and Catra were willing to remove the ones they believed stood in their way, Orion in his case and Adora in hers.

Both Orion and Adora gained an incredible power that allowed them to make a difference and to right the wrongs they had seen.

But it came at the cost of losing their best friend, someone they loved and trusted more than anyone.

Even though these differences in goals and ideals caused them to drift away, their is no denying both pairs are always drawn to each other. Whether friends or enemies, they influence one another’s decisions and actions.

The lingering feelings they have for one another adds to the conflict as they are torn between longing, betrayal, what is right and wrong, and what they desire.

[turboacek-blog]

Zutara and Kataang: my thoughts

Basically Zutara is the enemy to lovers ship

Kataang is the friendship to lover ship

Combine with other things like opposites attract, and love at first site and so on

With the Netflix adaptation stirring things up for this old ship rivalry just wanted to share some general thoughts

General thoughts as you can go anywhere for Zutara hints or why KatAang was actually good and don't need to analyze every moment

Enemies to Lovers

Disclaimer: I dislike the enemies to lover trope. It’s one of those things I genuinely don’t understand why they would like each other in most cases, as the cases I do like it it’s more like they’re the two friends that don’t gel as well like Sam and Freddie in iCarly not actual enemies on opposing sides of war, but I don’t feel this about Zutara due to Zuko

I brought up the ship tropes before as I think this shows more of the discourse amongst the fans

There’s a ton of people that love the enemies to lovers trope whether it be actual enemies or just the two friends that don’t get along that well and can argue/fight often

As people think things like opposite attracts or that when characters fight and argue and etc it shows their chemistry and potentially (sexual) tension of the two

And this isn’t every enemies to lovers ship but some people are genuinely more into the bad boy or bad girl or bad person, more than then opposite of good boy/girl/person

From appearance wise, some see dark and edgy > simple and clean, personality wise with crazy > generic heroic, to the story aspect as the dark story of the enemy can be more interesting then the normal story of the hero a lot of the time due to complexity and writing quality

Friends to lovers

On the flip side

Friendship to lovers is the ship that covers the exact opposite of enemies to lovers

As some believe you’re supposed to be with someone similar to you in morals, ethics, spiritually, emotionally, etc

And a way some people find that is through their friends / people in mutual interest group (sports, church, clubs, and so on)

It’s why there are tropes of the person finally realizing their best friend was the one or childhood friend were their perfect match

Let alone some people just like it more when people seem to enjoy being around each other in peace vs the opposite of fighting and arguing a lot

Aang-Katara-Zuko shipping stuff

So even after all that I do think some understand that and that isn't the cause of the divide for some

and their disagreements become more of a personal thing or how times have changed since the showed aired back in the early 2000s whether socially or just the fan themselves growing up

Like for example as I've seen this a lot, if you’re a girl it can be hard to put yourself in the place of Katara a 14 year old girl (which would be that 9th grader in high school range) being attracted to a 12 years old (essentially a 7th grader middle schooler (Aang) ) especially when that same girl was attracted to seemingly 16 year olds (11th graders before (Haru and Jet))

But I do think it’s not as cut and dry as a teen being attracted to a person two years younger as unbelievable as some also say that's a pretty shallow reason and people write those people off

Some think Aang is cringe for all his especially early attempts at flirting with Katara. Which not nonly ties into the age thing but the whole sometimes being persistent is bad and harassment which is more and more true as the years goes on as a lot of shows back then had that element of boy tries repeatedly and gets rejected repeatedly then eventually “wore her down”

And on the flipside Zuko harmed that group for a long time and even if unjustified Katara saw him as the representation of her hatred for a period which can have its own downsides when compared to things like abuse and not racism exactly but hating that whole nation almost (there’s a word but I can’t think of it)

They both have things against them

Some aspects just don't appear the same to different people

Like a popular example is the fortune teller episode

Where Katara only thinks of Aang as potential person for her when a fortune teller foresees it

The intention is this cosmic supernatural aspect saying these two are meant for each other

Destiny

Like on one hand Destiny can be super romantic like this person was destined for me, like this is my perfect match, they were made for me

On the other it can feel like you have no agency, like this is the only person for me? Am I just destined to be with this one person I might have never looked at in that way, am I allowed not to choose them?

Some people like that Katara realized Aang was a potential match via this supernatural aspect

Some hate it as it feels like Katara didn't come to become attracted to Aang naturally

On screen vs potential possibilities

Like it was kinda obvious Aang and Katara would end up together despite the distractions from guys like Jet. So the series being written that they naturally have more moments which leads to them being the ship makes sense

So whenever Katara kisses Aang cheek is just evidence that this clearly the ship

Vs

Even more than Aang and Zuko at times, Katara and Zuko are parallels so they're interactions even if on opposite sides can also be seen as evidence

But I think this on-screen and potential aspect is mostly on the Zutara side because of how the show went, which gives them more what-ifs

Like Zutara has a lot of what ifs like what if Zuko joined them in Ba sing se? Some genuinely think that would of kicked of Zutara for real

Let alone other aspects that I think people mostly like for story potential like if Katara marries Zuko she becomes the Queen of the fire nation which has a lot of story potential

It doesn't even have to be Zutara alone, can say if they did go Zutara for the writing back in Book 2 they could of easily wrote Taang (Toph and Aang) to be Aangs ship

As just minor example but Toph just being attracted to Aang and not Sokka from a writing viewpoint would make people like them as people like Tokka (Toph x Sokka) for similar reasons

Basically the show was building up to Aang x Katara and if they diverted from that there would be a decent amount of disappointed if literally all that changed was that at the end Katara kissed Zuko

But I think when people see the potential chemistry and interactions of different pairs not just Zutara but people like Sokka with Toph or maybe Katara should of just got with Haru they would have liked it if they wrote around those ships vs the KatAang one

Zutara thoughts

My quick thoughts on zutara is that for me…

I think this is more of a I like Zuko and Katara as characters but not necessarily together

Like I think if the show would of had Zuko with Ty Lee and not Mai people would feel different since Ty Lee is so loved while Mai seems more of an acquired taste and people might not like Zuko with Mai

Like I like Mai but her and Zuko together weren’t handled the best to me, even in the comics they broke up for a period where with Ty Lee at least she would be generally more well liked due to personality differences

Plus people really don’t like how they handled some of the more cringey moments of KatAang which is basically all on Aang which I’ll save for later

So when their main ships are not perfect I see the logic of putting them together along with all the other stuff I mentioned before

I however think what Zuko did while eventually forgiven by Katara doesn’t make him the best option for her but for Zuko Katara is lowkey the best option if we can’t put him with a Ty Lee or somebody like that

As Katara even if not with Aang I could put with someone like Haru or a hypothetically alive Jet whereas if Zuko isn’t with Mai he has the one off characters like the ba sing se girl (I forget her name, the one he went on an actual date with) but no one that comes back making Katara his next option it seems

KatAang thoughts

I don’t mind all the cringey stuff Aang has done lol

I think people really don’t like the kiss during the play as it’s one of those he kissed her without permission moments that gets people riled up as there are definitely examples and instances where it’s not ok irl and in media

But not even including the time the show came out in which definitely is a different time culturally than now

He kissed her before and didn’t have the same reaction and he’s 12/13 they’re allowed to make these mistakes

Plus even though she was confused and doesn’t outwardly say it all the time like Aang does, Katara did like Aang at this point at least that’s how I read it.

So it’s not like he kissed a girl that didn’t like him. Aang to me was basically asking her to be his girlfriend and she’s like maybe after the WAR, whereas he took it as doubt and tried to reassure her. To me it’s two people that like each other but are prioritizing different things as Aang just wants Katara and Katara wants this war over with

And could go on but all their cringey moments aren’t bad worse thing is how realistic some of it can be lol

I think the whole love at first sight and destiny and all that is take it or leave it though

As I know some people don’t believe in love at first sight or just don’t like that trope and that’s admittedly the basis of this ship

I think while they eventually worked up to it well I can see to some their beginning are just as shaky narratively as Zutara

Also Aang doesn’t really have another ship tbh, like someone pointed out that the only person Aang called pretty was Katara and the Painted Lady who was Katara lol

Like if they would have actually played into Ming from that fortune teller village, Toph the only other character his age or even someone like Ty Lee I can see an argument to not make Katara his main ship

Conclusion

I think the KatAang ship is harmless especially given their ages, the show release time period and just general point of the ship narratively therefore I think it’s a good ship

But I won’t lie and say especially earlier on that Zutara, Taang, and other possibilities wouldn’t have made some good if not even better stories depending how it was written just off potential

[testudoaubrei-blog]

Let’s talk about tropes. I’ll be honest, I didn’t closely follow the ‘do you like these tropes in books’ discourse beyond seeing that there was some back and forth about it with some decent points on each side. But I didn’t see anything addressing some of the large questions about how we analyze narrative and how the tools we use affect what we perceive in the text. So let’s do that. One thing I know is that no matter what I post on Tumblr it won’t be as out there as that rant about Catra and Calvinism (which remains probably the most accurate reflection of what talking to me IRL is like, as @highladyluck can attest). But fuck it, let’s talk about The Owl House, Jane Austen, TV Tropes and how we perceive narratives.

So I watched the Owl House and I liked it. It’s a whimsical, fun and good-hearted show with an adorably sinister aesthetic and at its best, an undercurrent of melancholy that I really love. Like a lot of folks, I like Lumity. They’re 14 year olds, they are gay, they have a fun dynamic and they’re cute in a ‘oh those crazy kids’ kind of way that people my age feel about a lot of younger people but especially teenagers, who are self-conscious and adorable balls of Awkward (why yes, the character I most identify with is Eda, why do you ask?). But one thing that surprised me about Lumity actually watching the show is how little conflict their relationship has compared to what I’d been led to expect. I’d heard their relationship described as a kind of enemies-to-girlfriends deal. And so I was expecting something like Catradora, where they are on opposite sides of the show’s main conflict, if not literal opposite sides of a war and where nearly every emotion they feel toward each other is complicated and fraught with regret, pain and longing. And I suppose they are kind of on opposite sides of the shows main conflict in the Covention episode, but not exactly, and even then that dichotomy quickly breaks down. Even when they were fighting in that episode, they weren’t actually trying to hurt each other, and they make an uneasy truce by the end. Indeed, the whole arc of their relationship isn’t really enemies to girlfriends. It’s a lot more subtle than that. There’s an initial antipathy because of Luz feeling protective of Willow and Amity being a shit to her, but Amity’s first episode more importantly sets up their basic dynamic, where Luz thinks Amity is callous and Amity thinks that Luz is cheating the system or life itself in some ways (Amity is very much a Fairness Person, and is a pretty accurate depiction of the personality type and the flaws in Fairness Thinking*). But very quickly the show sets up a mutual fascination - curiosity in Luz’s case and sheer frustrated confusion in Amity’s. Even at its most tense, except for their very first episodes this dynamic already teases us with the prospect that Amity and Luz will become less confrontational, and over the course of season 1 that’s exactly what happens, until by Grom they are very much friends. Who also obviously have fumbling, 14 year old crushes on each other.

Really, when I saw Lumity I saw a fairly low-conflict and low drama relationship. Some of this is an artifact of season 1 of the Owl House wrapping up most of its emotional conflicts within each episode and at least tamping down any conflict between Amity and Luz (and indeed, between most characters), but more than that there isn’t a huge depth of negative emotion between them, and from very early on in their relationship it’s balanced out by their obvious mutual interest in each other.

But even now I wouldn’t necessarily know this from how fans characterize their earlier interactions. I definitely see ‘enemies to girlfriends’ bandied about in fandom circles, and in memes about Lumity, comparisons to other ships and stuff like that. It seems like there’s a lot of playing up of their early conflict. Some of this may be a tendency I’ve noticed in fandom to play up conflicts into something more than they are in the text (in the Owl House fanon way overemphasizes the disastrous and mean spirited behavior of Em and Ed in Lost in Languages into something more sinister). But I wonder if some of it is a different and deeper question of how we approach stories. Namely, does naming a trope and applying it to a story change the way we view the story? By citing Lumity as an instance of the ‘enemies to girlfriends’ or ‘enemies to lovers’ trope do we change the way we view the story? I think it does. And this points to a potential risk in thinking about stories in terms of tropes. Because the tool we use to describe something will affect not only what we can describe but what we can think and even perceive. Our language shapes our thoughts. Like any other language game, when we talk about fiction the limits of our language are the limits of our world. Put another way, the language of our analysis of narrative is a tool we use to think about it. Talking about narrative in terms of tropes is one tool we can use. However, if we apply a trope, we change our interpretation because we will look for that trope throughout the text. We may start to over-interpret the text to better match the trope that we are applying to understand it. Even if we don’t do that, we’re using the trope and its previous iterations to understand the text.

The technical humanities gradschool term for this is a ‘hermeneutic�� - basically an intellectual tool you use for interpreting something. The most common metaphor is that it is a ‘lens’ of interpretation. Like a lens it is a way of seeing things that changes the very thing that you see (like a lens can make something look bigger or smaller, or more or less clear, or distorted in various ways, or flattened etc) in your object of study. Every time you analyze something, you’re using a hermeneutic because you can’t say or perceive anything about your object of study without one. This means that you can’t get past your hermeneutics. There is no one true way to look at a text, because you always need to use a tool, a lens, to interpret it. And each tool you use will have limitations, biases, and unspoken assumptions that will affect your interpretation. A lot of critical thinking about texts (or history, or a lot of other things) is understanding the hermeneutics we are using when we study something. This is why a lot of humanities academic papers talk about methodology for like a chapter before they get to their object of study (similarly, scientific papers will need to talk about methodology and experimental design but that is often more quantitative).

So what kind of a hermeneutic is naming tropes? I think in the end its about looking for similarities between narratives in terms of plot, setting and characterization. Cataloguing tropes is us saying ‘this character in this story is like this other character in this other story in this particular way’. Thinking about it this way, the important point is how we are noting similarities, yes (so what we consider relevant for making a trope) but also what other stories we’re comparing it to. And this is where things get interesting. Because narratives all are products of their own culture and time. And while there are ways of reading texts that don’t take this into account and these have their uses (IE New Criticism, yes I still stan it for limited purposes, don’t # me), even then we’re left with stories that actually -say- very different things. So the question becomes, what happens when we start comparing stories that aren’t actually anything alike? The result, I would argue, is a far clearer case of The Potential Pitfalls of Tropes. So let’s talk about the classic story of courtship (no, I don’t call it a love story, we’ll get to that) that weirdly enough is the most like Lumity, Jane Austen’s Pride and Prejudice.

One of the more common readings of Pride and Prejudice is that Darcy and Elizabeth bicker and snipe at each other a lot, which is a sign that they are Into Each Other, or that they start off with a passionate antipathy and this conceals a passionate love. In a Vox article I saw it used as an example of the enemies to lovers/rivals to lovers trope. The problem is, this doesn’t actually happen in the novel. In the novel, they meet at a ball, Elizabeth thinks Darcy is hot but then he’s an awkward weirdo in a way that comes across as aloof, Elizabeth quietly writes him off and tries not to bother with him (mostly think 'this fucking guy') until receiving the world’s worst marriage proposal. There is some sniping, almost all of it one-sided, unless you count this and Darcy’s awkward and arrogant fumbling as bicker-banter, which you shouldn’t. The situation isn’t resolved until toward the end when Elizabeth gradually gets to see Darcy in his own environment, where he is gracious, kind and yeah, thinks highly of himself but have you -seen- Pemberly? Elizabeth does change her mind about Darcy, but she’s not giving voice to the attraction that was always concealed by bickering or the passionate love that was masquerading as disdain. Instead, she very rationally confronts her preconceptions, finds that they have misled her, and changes her opinion based on new evidence. Then she decides that marrying a rich, hot guy whose assholery mostly compliments her own (she’s a jerk, y’all, so is he, it’s a match made in heaven) is her best chance at maximizing her happiness in a patriarchal society where her future is entirely determined by who she marries, so she accepts his next, less awkward proposal. They live happily ever after. I have joked that it’s basically a love story written by a Scottish Enlightenment philosopher and it’s certainly one of the most anti-romantic and yet weirdly sweet love stories that people still read. So yeah, Elizabeth Bennet, aromantic icon? Maybe! Anyway.

Like I mentioned, common readings (which shape a lot of adaptations as well as modern Janeite fandom) interpret meaning into the text where there arguably isn’t any (an unspoken attraction in Elizabeth’s annoyance at That Fucking Guy) as well as playing up other aspects of the text (Elizabeth’s mostly fleeting attraction to Whickam, which in the novel is mostly ‘this guy is kind of fun and also handsome’). They also ignore clear meanings that don’t fit into the reading - the conclusion of the novel, and its very title, explain the story as a pretty intellectual account of Darcy’s Pride and Elizabeth’s prejudice getting in the way of achieving a happy match. But the bigger problem is by casting this story as one of simmering passion and smouldering sexual tension, common interpretations undercut the actual philosophy of the novel, which is that our passions and preconceptions are dumb and that martial and sexual happiness can be achieved through some calculus that accounts for hotness, strength of character and income in thousands of pounds per year. The problems of Pride and Prejudice are emotional, but they’re also intellectual, and they’re overcome by the characters understanding other people more rationally and with fewer inaccurate preconceptions. Mind you, Austen throws all this romantic rationalism out the fucking window in Persuasion, which is about what happens when you do the smart thing and it makes you fucking miserable, but this is because Jane Austen is the fucking best.

So where does the common reading come from? I thin that, even if it doesn’t name a trope (as it does in the vox article), it comes from comparing the points of Pride and Prejudice’s story to tropes in more familiar media, namely modern (1930s and later) romantic comedies. In romantic comedies from the 30s on bickering has been a form of flirting (it’s in like, all the Fred and Ginger movies, I think?) and antipathy is often a mask for sexual attraction. This is a narrative coding that is understood in modern movies, to the point where superhero flick and modern rom coms will use it as a replacement for actual affection or attraction. But if we apply this narrative convention anachronistically to our understanding of a 200 year old novel that predates some of our very assumptions about the nature of romantic love and the nature of romantic relationships, then the result makes us -think- we’re relating to this older text, but really we’re not understanding what we’re reading. Rather than encountering Jane Austen’s strange and wonderful and thought provoking world, we’re reducing it to the conventions of a story that we have read a thousand times before. Sometimes, we are distorting the text and it's meaning because we are trying to understand it in the terms of what is familiar to us. And that’s sad.

This points to a more general problem with understanding narratives in terms of tropes - listing tropes is a list of supposed similarities, but stories are not interesting because of the way in which they are the same as other stories. They are interesting because of the ways in which they are different from every other story. Every story is itself. Every story has unique characters, themes, plot points, dialog, descriptive tools, style etc. Stories from other times and other cultures can be strange and confusing and challenge our assumptions about a lot of things, including what it even means to be human, and that’s why they are awesome. And I think there is incredible value if our first impulse is not to try to see how this story is -like- other stories, but instead to see how it is purely -itself-. What is it saying to us? Who are these characters? What does the way this story is told tell us? What does this story (not other stories, this one) mean to us? TL/DR Joseph Campbell was a fucking hack, more on that in a future rant.

So as you may have noticed, if there are lumpers and there are splitters (a distinction that comes from taxonomy in biology - do you lump species together or split them apart), then call me a splitter. Similarities can be useful, but the similarities between things can never tell us what makes something itself, because what makes something itself is the thing or things or combination of things that it doesn’t share with anything else. And so I encourage everyone to first ask yourself what a story is saying in itself, as itself, before you compare it to anything else, be that through a TV Tropes trope list or anything else. Yes, this is an approach that will also require its own hermeneutics, and no, it will never be definitive. There is always more to be said. Indeed, after I think about how a work is uniquely itself I do like comparing it to other works. But I Think this can often be the perspective that most allows works to speak for themselves.

*Where fairness is defined as ‘everyone should play by the same rules’ 

[writefightandflightclub]

Trial by Fire (Part 1/3) Santiago “Pope” Garcia x GN reader

Summary: You’re finally introducing your new boyfriend to The Boys. It must be intimidating for your guy because, hello? Not only are they literally lethal, as well as infeasibly handsome, but they’re hella protective of you to boot. They want the best for you so, naturally, they make your guy run the gauntlet the whole evening. Santiago, though? Well. Given that he is secretly in love with you? Let’s just say he doesn’t handle the situation very well at all.

Genre / tropes: angst, friends to lovers, love confession.

Author’s note: I wasn’t planning on writing this (in fact I’m writing the opposite, where “Santi has a new girlfriend and you don’t take it well” as a series, loosely based around the 7 deadly sins); but, in the meatime, I wrote this to get back into the swing of things after a lil break. It’s just a quick one, but there will be a second and final part, if you want it! Let me know!

Word count: somehow, 4.4k.

Warnings: language, angst, best friends arguing, Santi being an asshole.

Rating: T

The boys aren’t being as awful as you had anticipated, at least. For the most part, they’re actually being pretty friendly, and although they’ve transitioned into grilling Dean about every aspect of his life, they are at least listening intently and smiling at his answers. All except for one fucker, of course; and, naturally, surprising no-one, the fucker misbehaving is one (1) Santiago “Pope” Garcia. 

The group - the boys, yourself, and Dean- are huddled comfortably around the blazing warmth of the fire pit in Frankie’s yard. The dancing, oranged flames cut through the dark and cold of the crisp night, as you sit upwind of the smoke on scattered, mis-matched camp chairs.

Whilst the others are evidently enjoying the evening -faces painted with smiles, body language open and leaning-in to chat to Dean- that fucker Santi is leaning back in his chair, his jaw twitching in seeming aggravation, his arms folded, and his intense eyes needling your beau. In this dim light, with the firelight licking over the sharp planes of his face, he looks every bit like a trained killer about to leap out of the shadows and garotte someone. Well… a very petulant trained killer. His call sign should have been Mr. Grumpy Pants, you think idly.

What’s up with him this time?! you wonder.

He gets these moods sometimes. And, when it strikes him, he can be a little bit hostile - despite the fact he’s a puppy underneath it all. You had hoped that for once, maybe he would suck it up, and yet, your hopes had been in vain, it seems.

Every time Dean speaks, or touches you, or even laughs at another of the guys’ stories, Santi’s expression sinks further and further through layers of distaste; and, by this point, he’s eyeing Dean as though he’s a war criminal the squad have been sent to take-out. You half expect him to leap up and take down Frankie any second for fraternizing with “the enemy”, if you’re honest.

Truth be told, you’ve had just about enough of this. Your friend had better buck his ideas up, sharpish, or he’d be reminded very swiftly that you were Delta Force too.  

For now, trying to ignore the bastard, you look back at Dean, and the sight of him in animated conversation with your buddies causes at least some of your aggravation to fall away. Things have been going well between you and Dean, even if you do say so yourself. Originally from Michigan, he now worked as a lecturer at a nearby music school. He was also a banjo musician in a bluegrass / synth power-pop mash-up of a band, which (sort of) explained his retro-inspired mop of brown hair and his thick dark moustache - majestic enough to rival Frankie’s. True, he wasn’t your usual type, but he was honest, and sweet and kind... Plus, he’d never killed anyone with his bare hands, which was rather refreshing too, if you were honest.

Safe to say, so far, things were working out. So well, in fact, that you’d recently met his parents for the first time while they were in town. So well, in fact, that -after keeping him purposefully away from the boys for as long as you feasibly could- you’d now brought him to meet your family. That’s what this squad was to you, after all. Your family.

Remembering sporadic moments from the past few months together, you smile gently as you listen to Dean talk. You watch him seamlessly integrate some tailored conversation starters you’d fed him ahead of time, and you gently squeeze his thigh in an act of reassurance and appreciation. He is feeling the pressure, you can tell, although he is handling it well. To be fair, you think, who wouldn’t feel the pressure? You’d been nervous enough to meet his parents, but this? A bunch of Delta Force guys and an MMA champion? This squad was lethal; literally -you’ve lost track of your combined kill count, though Will probably hasn’t, you are sure.

Aside from that though, most of all, they are your family. You need them to like Dean and vice versa, and you know that isn’t necessarily a given. You are a tight-knit group, with little hope of outsiders grasping the full extent of your decade’s old in-jokes, or the intense camaraderie instilled by facing a hail of bullets together. Plus, as the baby of the group, they were protective as all hell of you.

It came from a good place, you knew: they wanted what was best for you. But, there was a reason you’d delayed this meeting... It’s not as though they were threatening or anything. They didn’t do the whole “if you hurt our buddy, I’ll kill you” thing, for example (at least, not while you were present – you couldn’t vouch for what happened when you were out of earshot).  However, after introducing a succession of boyfriends to them over the years, the squad had developed a well-rehearsed system for sizing-up your new squeeze. In the past, not all of your squeezes had made it through the gauntlet. It was a trial by fire, to be sure, and you were pleased that Dean has not yet been burned.

Of course, whilst the boys’ approval didn’t mean everything to you, you couldn’t deny it was important; perhaps especially this time, with this guy. And, out of all of the group, Santi’s approval meant the most to you. Always had. Probably because Santi meant the most to you, full stop. You simply couldn’t imagine having someone in your life that didn’t get on with your best friend. And, so, you are not overly thrilled at the reception Santi is giving Dean right now. The reception he had been giving him all evening, in fact. And the more you dwell on it, the more an anger bubbles forth from you. Even though you try to push it down, and focus on Dean, that fucker in the corner of your eye sends you.

“What’s wrong with you tonight, Garcia?” you blurt out, a little louder than intended, causing the amiable chat and giggles to stall, all eyes turning to you - then, in turn, following the direction of your fiery gaze over to Santi, who shifts uncomfortably in his seat.

Now, he leans forward. Looks back at you with a rare venom in his eyes. With a smug curl of his mouth, he dips to pick up his beer from the floor and takes a swig - buying himself some time. Trying to brush you off. Still, your gaze does not relent as he rests his elbows on his thighs, bridging his fingers together in the space between, thumbs sticking in the air.

Now, he engages, and he looks directly at Dean, his eyes sweeping dismissively over the entirety of his form. Now, he speaks, his voice filled with far more bitterness than the situation merits. “Nothing at all. I’m fucking peachy. So, Dean. You play the motherfuckin’ banjo?” he offers, and yet, it sounds far more like an accusation than a question.

What the fuck is up with him?

Wilting a little beneath Santi’s stare, as the ex-operative squints his eyes in his direction, Dean casts a helpless, sideward glance at you from his place in the circle, and yet, you are so stupefied by anger that you can do little to help.

“I think what my dear friend means to say -” Frankie dips in valiantly, smacking Santi pointedly on the thigh, likely hoping to smack some sense into him too “- is why don’t you tell us more about your music, Dean?”

Frankie’s eyes and smile are soft when he looks at you, surreptitiously exchanging a pointed look -what’s up with that pendejo?- and you are grateful that at least some of the evident tension is diffused when he picks up the slack in the conversation.

Santi and his mood swings be damned, and, feeling bolstered, Dean continues on.  

“Actually, it’s going pretty frickin’ well with the band. It’s a side-gig to my lecturing job, but we’re planning a tour during summer vacation. The States -east coast- and Western Europe for now. Maybe headlining a couple of small festivals, if that pans out, who knows.” Dean relates, humbly.

“That’s great, man,” Will chips in, helping Frankie get things back on track. “We’ll have to come down to a gig soon, hear you play.”

“Actually, we have something to tell you about the tour, don’t we, babe?” Dean says bashfully, and he looks at you expectantly, waiting for you to pick-up the thread. You’d talked about it before coming today, and it had seemed like a great idea at the time, but suddenly, now that the announcement is imminent, your mouth is dry - as if filled with cotton. Still, you force a smile, and you’re not sure why, but you look anywhere else but at Santi as your lips form the words. “Yeah – kinda big news, fellas. I’m going to join Dean on the Europe leg of the tour. I’ll be leaving you losers behind for a few months.”

Dean’s face cracks into a smile and he reaches for your hand, looking made-up at the prospect. Still, while you will yourself to be fully present in the moment, you find yourself focussed on looking anywhere but at Santi, sure that his stare must be boring into the side of your head. You hadn’t told him yet. Unfortunately, at Santi is where just about everyone else ends up looking, as the fucker abruptly pushes his camp chair back and stands, storming indoors before anyone can hope to fathom it.

You exchange glances with Frankie, Will, and Benny, with Benny thankfully stepping-in this time to distract Dean from the obvious, and asking him which stops you two will be making, and which sights you plan to see.

“Look, man, don’t mind that tool. Got any sightseeing plans?”

What is Santi’s problem? Why can’t he give Dean a chance? Yes, you’ve made some mistakes in the past- been hurt, and Santi had helped you pick up the pieces -every time- but you had a good feeling about Dean. A really good feeling. Can’t he see that too?

Frankie throws a concerned glance back towards the house and motions as if to stand, but you beat him to it, wanting to get to the bottom of this. “I’ll go,” you insist, motioning for Frankie to stay put, and with a quick promise to Dean that you’ll be back soon (and a silent plea to your boys to take care of him in your absence), you do just that, walk-jogging across the grass.

When you step inside to the kitchen, you find Santi stood, hunched over the counter, his palms clasping the surface tight enough that his knuckles pale, and his head hung low, his shoulders rising and falling as he takes in exaggerated breaths.

“Well?” you ask pointedly, with zero tolerance for his bullshit. “What’s going on with you? Wanna explain why you’re being an ass to my boyfriend?” you challenge to the back of him, and he instantly whips around at the sound of your voice. 

“I’m being an ass?” he asks indignantly, his eyebrows shooting towards the top of his head. 

“Yes. In a nutshell. Yes,” you hiss, any other interpretation feeling impossible. You fold your arms and purse your lips, making it plainly evident that you are waiting for some explanation. And, oh boy, it had better be good.

Instead of explaining though, Santi simply huffs out breath, gesturing angrily out of the window. “That guy, really? That’s the guy you’re gonna go all in for? Go to fucking Europe for?”

That guy, you mouth silently, completely stupefied for a moment. You’re not sure exactly what your so-called friend is insinuating, but you are clear that you don’t like it one bit.

“What is your fucking problem?” you ask, punctuating your words with motions of your hands, as if you are trying to strangle the air in-between you in lieu of his neck. “Dean’s a catch. He’s hot, he’s sweet, he’s a nice guy. He’s there for me. He takes care of me.”

“Like I don’t take care of you?!” Santi exclaims, his voice rising and abrasive; and then, immediately after the words tumble forth from his lips, he steps back imperceptibly, as if startled by his own outburst, his hand rasping over the stubble on his chin.

“What in the...? This isn’t about you, you ass!” you bite back, face scrunching up in confusion. Your fingers come to your temples as you grow increasingly lost-off and perplexed, and seemingly, your riposte only makes Santi double down on whatever the hell he is complaining about.

“Who’s the one who’s always been there for you, hmm? Who picks up the pieces every time you make yet another dumb shitty choice with another shitty guy?” he rambles, gesturing his hand towards you dismissively.

You step back from him this time, just a little, tears spiking instantaneously in your eyes at such an unnecessarily cruel blow. He’s right, in a sense: you had always relied on Santi to heal you, not to hurt you - and yet here he was dealing these painful, incoherent blows out of nowhere.

“Shit, Garcia. If it’s that much trouble to be there for me don’t bother next time,” you snap, your voice breaking as the swell of anger and hurt and adrenalin sends tears spilling over your cheeks. “Don’t worry though, I don’t think I’ll need you again. In fact, I have a feeling this guy might stick. So, maybe? Maybe you should think about the fact that the only shitty guy around here is you.” 

“You really think he’s good enough for you, hmm? He’s really who you want to end up with?”

You listen, aghast, as his tirade keeps coming. However, as Santi’s voice breaks with emotion part-way through his second question, you can’t explain it, but you feel an intolerable sadness in the pit of you. Even though you’re not sure what’s causing all this, what you’re barrelling toward, you want to thrust this sadness away from you. Push him away from you.  You want to push away the knot in your stomach for fear that if you tug at that thread, you might arrive at an answer to his question.

Exasperated, overwhelmed, you roughly paw tears from your cheeks, not knowing where all of these feelings are coming from, in either direction. “Fuck, I... I don’t understand what this is. I don’t get it!” you say, waving your hands, palms-up, through the air. “Is this some macho bullshit? Have I pissed you off somehow?”

At that, the wave of Santi’s anger crests and breaks; as you wonder if you annoyed him. Then, as suddenly as his anger came it is waning, his eyes pooling with rare tears now. With a huff of breath he tears off his damn cap, tossing it aside to run a hand through his grizzled hair. 

“No. No,” he backtracks a little, palms up in surrender. “You haven’t... I.... I just...” He pinches his lips in-between his teeth and looks up at the ceiling as his words trail off, perhaps trying to steady his voice before continuing. Or, perhaps he has nothing else to say to you. Perhaps he’s said enough.

You examine him. Still pissed as all hell, but worried now too, and ultimately, your love for your best friend slightly edging-out the anger. It’s rare that anything affects him like this, and you can’t help the sudden rush of concern.

Cresting too, you exhale a tightly held breath into the now silent, taut space between you, and your body sags - just a little. You chew over your words a moment, but when your voice comes back the volume is lower, your tone softer - and, although it cannot be considered friendly, by any stretch, it’s the best you can do right now.

“You know what,” you offer, generously, wrapping your arms around your own middle, stroking your forearms with your own fingertips. “I’m giving you a pass. You don’t even want to give Dean a chance? Then just leave, Santi. Just go. I’ll give the guys some bullshit excuse that doesn’t leave you looking like a total ass, because I’m not a dick to my friends. So just go, okay?” You pump your eyebrow at him indignantly and await a response, your manner stiff and unyielding.

Santi closes his eyes and knits his brow together, something like regret finally passing over his face and he shuffles guiltily from foot-to-foot.

You puff out air through your teeth and shake your head, as you observe this Delta Force hero; the bravest man you know in many ways, but still too cowardly to tell it like it is. To admit that he’s in the wrong. You are afraid to say that even as his gaze comes back to you, misty-eyed, you have little sympathy for his plight. You are sure it is of his own doing. You are almost as sure that he won’t open-up.

“You know,” you begin, breaking from your position and gathering up a fresh cooler of beers from the fridge, turned away from him as you speak. “I brought Dean to meet my family. Do you understand that? I didn’t have parents and siblings for him to meet. I have you guys. You’re my family.”

Still nothing. Nothing but silence greets you. Nothing but a pained expression on his face, his brows drown together and the artificial light of the kitchen highlighting the harsh planes of his face as you look over your shoulder at him, waiting for some reaction. Some admission of guilt. None comes. He simply slots his hands into his jean pockets, looking sheepish.

“So,” you continue, greeted with a brick wall, “fuck knows why you don’t want me to be happy, but I am. I’m happy with him. Thanks a ton for shitting all over that.”

You don’t even bother to look towards him this time, instead placing the last of the clinking, condensation-adorned bottles into the carrier, resigned to head back out without him, and without any apology.

“I’m sorry,” he finally says, and your head whips towards him in surprise.

He looks it - sorry. He looks apologetic. Deeply so. He looks sorry for this, for every way he’s ever slighted you, for every time he’s hurt you, even in ways and moments you never knew about. He looks sorry down to the pit of him, and it catches you off-guard when you see it freely offered there in his eyes.

Even so, this is a stubborn man. There’s an apology, but there’s no explanation. Nothing to explain his behaviour. So, even though it seems genuine, it also doesn’t seem like enough.

It doesn’t appease you, and yet, all you can bring yourself to do is sigh deeply.

You know Santi better than anyone, but there’s always been a part of him that has seemed out of reach, even to you. You’re not sure -never have been- whether to be scared or excited by those unknown parts of him. Not sure whether the impasse hints at buried secrets too dark and deep to bear, or whether it hints of a possibility of something more. Something deeper or something better you could have together, if only he would let you in. You don’t know, and you never have, but all you are sure of is that you have constantly teetered on the edge of that abyss, too much left unknown to know all of him, however much you may have wished to. He’s entitled to his secrets, of course, but you hate how they hurt him. 

With a little sympathy now, you examine his watery eyes, and when your voice comes back this time, it is softer and slower than you intended. More tired than you expected.

“You know, Dean wants to be with me. And he tells me so.” You casually dip down to pick-up the cooler handle, eyes still fixed on your best friend. “He might not be Delta Force… he might be a banjo player from Michigan… but even he’s brave enough for that.”

“What the fuck is that supposed to mean?” Santi says, bristling all over again, his hand rasping angrily over his stubbled jaw, and yet, you decline him an explanation. Instead, keeping your own secrets now, holding back, you head towards the door, beers in hand.

Still, you turn back to him. You might be angry, but you still care for him -more than you could say. 

“If you figure out what’s up with you, let me know, and I’ll be there for you. Whatever you’ve got going on, you know that, right? But this? This isn’t okay, Garcia. You might think that I make dumb choices -you ass, by the way- but I’ve watched you hit self-destruct so many times instead of dealing with your feelings. Maybe you should look at your own life, huh, instead of shitting all over me for trying to be happy? Shit, at least I fucking try.”

His eyes shift from side to side in the room, the muscles in his jaw twitching, chin jutting forward, and his thumbs locked in his belt loops. He can’t quite bring himself to meet your gaze; at least not until you are disappearing through the threshold; until it’s almost too late. Why can’t he ever manage anything unless it’s too late?

“Wait!” he pleads, but you cut him off, before he can speak. Even though, truth be told, you’re not sure he would muster anything to say at all, even if you gave him a chance. He’s so used to holding back.

“No,” you say firmly. “Forget it, I’m done. I still love you- you’re my best friend. But, fuck, just go home, and get out of my sight, Santiago. I’m so pissed with you right now.”

And so, you turn away, and when his words finally do come, they are spoken to the back of your head. They are spoken without you ever seeing his lips move, and you wonder if he ever said them at all, or if this might be some cruel trick of the night. Some witching hour spell. That is, until you turn towards him and you see the words painted clearly on his face too.

“Fuck it. I’m in love with you.”

I’m in love with you.

Why can’t he ever manage anything unless it’s too late?

You’re not sure what reaction he was expecting, but you almost choke on the sudden lump in your throat. You feel a taste of bile rising-up into your mouth. An intense, resurgent anger fills you, which near makes the room spin, and makes your hands and your legs tremble.

Even if a hidden, unconscious part of you has been waiting, hoping for these words all these years, when they finally come all you can feel is... royally pissed off.

“Oh. No. No. No,” you repeat, words gradually increasing in volume, looking at Santi as if he has mortally wounded you, rather than offered that confession. “You do not get to do this to me.”

You see a hard swallow bob down his throat, a near-instant regret on his face, and your heart pounds in your chest as you reel with the implications of his words.

The coward. The fucking asshole. He waited until now? All the times things had gone to shit, and he waited until you were happy?

“All the times...” you accuse, your tone as bitter as the taste in your mouth, the metallic tang of blood as you feel a rushing in your ears. “All the fucking times. All the chances, Santi, and you do this now?” you continue, your finger sawing through the air, wagging accusations at him, even as your voice wavers, as your hands notceably tremble. “No. Fuck you, Garcia. Fuck you.”

You want to cry, or scream, but you are too angry. So angry, that it eclipses anything else which might come to light. So angry that you almost come full circle again, beginning to stabilise out at eerily calm.

Santi looks down at the floor, and exhales air, chuckling disbelievingly to himself, then lightly nodding his head, lips pressed tightly together. His feet shift agitatedly below him as he brings his endlessly familiar eyes back up to meet yours. This time when he looks at you, it hurts. You remember bullet wounds, and you swear that was nothing compared to this.

“That’s it? That’s all you’ve got to say to me, hmm? Fuck you, Garcia?”

“What the fuck were you expecting?” you say, launching your words before you realise the implications of them. Yes, you know fine well that your boyfriend is sitting outside, likely wondering where you have got to. But, if you had the wherewithall to have thought about it, you would know exactly what Santi was expecting, despite all of that. You would know that a part of him must be expecting, hoping, that when he told you, you might reciprocate. That you might love him back.

And, would that be so outside of the realms of possibility? Would it be so hard to imagine that the deep, magnetic, and unshakeable friendship you shared could be something else? Something more? That you could tip over the edge you had long been teetering on? Maybe it could, or maybe it could have, but right now, you can’t see past the flashbang he has just dropped over your life, and it is clouding your vision.

You were happy. You are happy. Fuck him for doing this now.

Why would you fall into the unknown for him, if you never knew whether he would catch you? If you never knew whether ruin or safety awaited you if you let yourself tip? He always held back.

What the fuck were you expecting?

Your words linger in the space between you, and in lieu of any other lifeline, realisation dawns on Santi’s face. Realisation that, although he jumped, you are not intending to catch him either. But how could you catch him, with your arms already full?

And, so, he slowly nods his head once again, his eyes beading with glassy tears and his hand grazing over his chin in a self-soothing gesture. Wordlessly, he sets his jaw and he abruptly replaces his baseball cap on his head, padding a few steps forward to stand opposite you, sucking all of the breath from your lungs. This time, when he looks at you, you see all of your past, but you still can’t see beyond that. The abyss still scares you too much.

Like this, facing each other down, eye-to-eye, the silence in the room grows sharp as a knife, refined to a point. So, when Santi abruptly turns to leave in a sharp, determined trajectory, without so much as looking at you, it is as if he has dragged the blade across your skin in an equally swift motion. As if he has left you open and bleeding-out, having delivered a mortal wound with the act of his exit. You’ve felt like this on the battelfield before, and in life, yet he was always there for you. Always there to patch you. To pick up the pieces.

Instead of screaming open-mouthed for help, this time, you simply watch him go, and now you are the wordless one, mustering nothing but a gasped inhale of breath before your vision blurs with tears - as you watch his hazy form disappear along the hall and out of your sight.

“Santi,” you call pathetically, your voice small and weak and teary, barely making it past your throat, and he doesn’t hear you. He doesn’t hear you but even if he had, you’re not sure anymore if he would have stopped.

When Santi slams the front door behind him, you shudder with it in its frame, your hand coming to your chest as if to hold your heart inside your opened-up ribs, and you close your eyes against the jarring sound, tears spilling down your cheeks, your face screwing-up into a shined, contorted grimace.

Entirely lost, now alone, you bizarrely wish for the room to be filled with anger again, instead of the intolerable sadness - which all too suddenly takes hold of you as your emotions crest and break. It is all you can do to stumble forward a few paces and hunch over the countertop, finding yourself in the exact position you had discovered Santi in. You stand, bracing yourself with your arms, fingers clutching the edge of the worktop, and your head slumped forward, tears freely spilling out of you as your chest heaves.

You wonder whether he’d held himself in this same position because he had felt an intolerable sadness too. An intolerable sadness at seeing you happy.

Suddenly you could understand it.

That fucker. Santiago “Pope” Garcia.

I’m in love with you.

I’m in love with you.

The words echo in your mind, but this time, if you’re honest, you’re not wholly sure if they’re his, or yours.

PART TWO IS HERE

[generallypo]

in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh. 

------

anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding! 

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes.. 

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way. 

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ. 

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically. 

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that. 

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you. 

yeah fucking right.

------

and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him. 

[[You are this universe’s most powerless existence, aren’t you.]] 

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself. 

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

------

and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (”haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise. 

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines. 

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

------

now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios  and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out.  i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah. 

------

(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

------

and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

[lailannajacobs]

What in the Seven Hells is a Junabee? | GIBP III

Pairing: Fey!Loki x fem!reader

Chapter Summary: You and Loki take a trip to the seamstress. 

Warnings: fluff! 

Word Count: 5.3k 

A/N: OKay so I love this chapter for a whole bunch of reasons I won’t get into, but I also know it’s a set up for all the fake dating (and other events) you’ll get in the next chapter (and the rest of the fic) so don’t worry, my fav trope ever is coming!! I hope you enjoy, and as always, it makes my day to hear what your thoughts! <3 

The seamstress was in a beautiful house, which overlooked the river down below. It reminded you of the type of houses in the book of fairy tales you and Nat used to have; tall and spindly, and reminiscent of a pine tree. It was the same luscious green as the surrounding flora and had over a dozen tiny stained-glass windows that glowed like emeralds in the sun. You’d never seen anything like and it, and you couldn’t help but stare a little too long.

Loki knocked on the door and took a step back, hands clasped behind him as you waited. The black, double doors were much bigger than the one at the restaurant, and you were pretty sure that meant a Dwarf wouldn’t be greeting you this time. You couldn’t help but feel a little curious, a lot of dread and somewhat excited to see who would greet you.

A strong, broad shouldered Fey woman opened the door, a cat-like grin spreading across her face as she took in the king. Her chestnut hair was braided back and out of her face, but the rest was loose around her shoulders in tight curls. She was dressed in black from head to toe, pants tucked into knee high boots, paired with an intricate top that looked more like armour. Had you passed this woman on the street you would have assumed she was a warrior and not a seamstress. Even standing before her now, you weren’t sure you were at the right place.

Loki took her hand in his and pressed a kiss to the back of it, an equally wicked smirk on his lips.

“Valkyrie, I’m so glad you could make room for us on such short notice,” he practically purred, “we appreciate it.”

“You were just lucky someone canceled at the last minute,” she said with a wink, “I don’t make exceptions for anyone, least of all you, Loki.”

He let a breathy little laugh, the two of them obviously good friends, if not something more. If there was, it wasn’t like you didn’t get it. She was beautiful. Honestly, they both were.

Her gaze slid toward me and her grin morphed into something a little less playful and much softer, “and you must be the mysterious future queen I’ve heard about,” she dipped her head, “it’s a pleasure to meet you.”

“Likewise,” you said through a tight smile.

This was the first time someone other than Loki had mentioned the actual consequences to this deal and you weren’t sure you liked it. Queen… You weren’t meant to be queen. Ever. How in Cerdwen’s were you supposed to be queen? You shoved the thought to the back of your mind. There was no point thinking about it and freaking yourself out more. You just needed to keep pretending like you could actually do this.

Anyways, she was a seamstress, not a council member whose opinion could change everything. You had to assume that Loki must have brought you into the city to practice your act around people who’s opinions didn’t affect your fates, but even if he hadn’t, you were glad for the excuse to learn how to play the role.

“I’ve heard so many great things about your talent, Miss Valkryie,” you lied, settling into the part as best you could, “I can’t imagine having gone to anyone else. It’s just so nice to have finally met you.”

“You’re too kind,” she waved away the compliment, but her eyes narrowed slightly. You held your breath, afraid she could see right through you until she motioned for you to follow her in, “but I do have some pieces I’m sure you’ll like.”

The walls on one side of the hallway were painted navy while the other side was painted a dark green, all trimmed with gold mouldings and decorated with paintings of men and women in extravagant clothes. There were rooms branching off to either sides. The layout of the house was far bigger than you’d assumed from the outside. You couldn’t help but wonder who this woman was exactly. The riches of this home were beyond ordinary…weren’t they? You clenched your jaw in an attempt to hide your anger. If these people had homes like these then they had the means to help any one of the other realms who were still rebuilding. Yet they hid on their island like the rest of us didn’t matter. Odin was a monster, stroking the embers of hatred that sizzled in his realm, mounting them to a burning fire that destroy the seven others. But these people — the Fey — they could do something about it. Instead, they just sat in their riches and their magic, doing nothing. You were thankful neither of them could see your face.

You entered a room that might not have seemed small if it hadn’t been stacked with books from floor to wall on every side except for the one you’d entered through. There was large wooden desk in the corner, cluttered with papers and scraps of fabrics and in the centre, a pedestal with two small poof seats in the opposite corner.

“Remind me again what you’re looking for, Loki,” she motioned for the two of you to take a seat.

You stayed standing keeping an eye on her and door. Loki shrugged and gracefully eased onto the cushion, legs sprawled out in front of his as if he was in his own home. You glanced between the two of them, trying to figure out what exactly their relationship was, but both of their faces were impossible to read. The only thing you knew for sure was that these two had known each other for hundreds of years.

“Other than a few formal gowns, I would suggest you ask Ms. YLN,” his gaze slid over to you, eyes lit up with mischief, “the choice is hers.”

You barely restrained from scoffing. Like you had any choices in the deal.

Valkyrie turned to face you, surprising you with a genuine looking smile on her face, “Come then. I think I’ve got ideas you might like. Do you want your future king to join us?”

Valkyrie probably had no idea that she’d just asked the best question possible. Or maybe, judging by the sly grin on her face, she had. You didn’t know if that immediately made you want to trust her or the exact opposite.

“Actually, I was hoping it could be a surprise,” you chirped, “he really doesn’t need to stay.”

Loki let his head loll back, looking at you through hooded eyes with a slight, knowing grin on his lips, “of course. Enjoy yourselves. I’ll be back soon, sweetheart.”

He stood with efficiency and speed unmatched by most of the other races. When his back was to Valkyrie, he shot you a pointed look. You narrowed your eyes but quickly made sure to smooth out your features before Valkyrie could get wind of what was going on.

When he was out of sight and the door had closed behind him, you felt a shimmer of magic and wondered if Valkyrie felt it too. If she did, she didn’t say anything. You had a feeling that whatever it was, it was a precaution to make sure you wouldn’t sneak off again.

“I see you like to dress to move around,” was the first thing she said.

You couldn’t help but look down at the plain black pants and dirt brown sweater as if you’d forgotten you’d been wearing borrowed clothes all morning.

“I need to be able to move,” you answered gruffly.

She nodded, “I get it. This world hasn’t been easy, especially to humans.”

“And what would you know about the world being unkind?” you snapped, the riches of her home mocking you.

“This realm was at war like every other hundreds of years ago,” her voice was barely louder than a whisper, but there was nothing soft in her voice, “just because we haven’t had it the hardest doesn’t mean we don’t know hardship.”

Something about the haunted look on her face made you feel stupid about your outburst and you cursed yourself again for not being able to keep your emotions in check. Valkyrie barely looked older than you did, but she spoke like she’d lived through the war — seven hells, judging by the way she wore her clothes like armour,  she might have even fought in it. You wanted to ask her about it, but doubted you could get through even an inkling of the conversation with your emotions in check. You weren’t about to expose yourself by asking questions to which you already knew the outcome. Still, it didn’t mean she deserved your judgement.

“I’m sorry,” you maintained eye contact as you spoke, hoping she knew that you meant the words, “you’re right.”

She ignored the apology with a wave of her hand, and you sighed, glad she didn’t seem to think anything was amiss.

“I see why he likes you. That fight in you…it’ll remind him of his,” she continued, almost to herself, “he’s been going through the motions for far too long now.”

You paused, wondering why she was so open, sharing about her king like that until you remembered, that as his future queen, this wouldn’t be inappropriate, especially that she was complimenting you. Still, it was hard to ignore the fact that she thought Loki was only going through the motions. They Fey you’d met looked nothing like that.

“I’m flattered you think so,” you said with a smile, hoping you could rely on pleasantries to get by, “you’ve certainly known him longer than I have.”

“We’ve been,” she paused with a huff and a little shake of her head, “it feels like we’ve known each other for an eternity. I’m glad he’s finally found someone who makes him happy.”

“Well, he makes me happy,” you almost gagged on the words, but the way her smile grew made you think that you’d said the right thing.

Valkyrie lifted her hand and a book high on the shelf flew off and into her hand. You pretended to inspect your nails, trying not to show how much her little display of magic amazed you. It seemed so simple and you couldn’t help but wonder if maybe it was something you’d be able to do if someone took the time to show you.

“I was thinking we’d start with something like this for formalwear,” she pointed to a gown that looked equally gorgeous and terrifying, “and then we move on depending on what you like or don’t like. Yeah?”

You shot her what you hoped was an enthusiastic smile, the moment bittersweet. Nat would have loved sitting here with you, thoughtfully pouring over all the designs and teasing you into trying something outside of your comfort zone. But she wasn’t here. Your hand fluttered to place on your chest where the pendant lay under your shirt. She was being held hostage and you were here. It didn’t matter than you were now in similar situations, yours was so much easier and you couldn’t help but feel guilty about being here. This whole thing seemed frivolous and pointless. The Hand was the only thing keeping you from walking out.

Valkyrie cocked her head to get a better look at you, “you sure?”

“Absolutely,” you picked up the design she’d just shown you, thankful your hands weren’t trembling, “ready as if my life depended on it.”

Loki had reappeared as you were nearing the end of Valkyrie’s many suggestions and had taken a seat in the far corning, looking on in calculated silence. It was hard to focus with him back in the room and you weren’t sure if you should change the way you were behaving around Valkyrie. She’d been so carefree and thoughtful about the dishes she’d had to offer that you’d almost forgotten what you were doing here. She wasn’t the council so you knew you didn’t have to impress her but a part of you still felt like you should remind her that the two of you were in love. Or at least maybe act a little differently?

After glancing over at Loki for what felt like the millionth time, he raised a brow. You glared at him. For someone who was so worried about the two of you being seen together this morning, he wasn’t doing a spectacular job at faking it right now. He shrugged lazily as if to say what do you want me to do and stayed silent.

“I’m glad you told him to go because you clearly can’t take your eyes off of him,” Valkyrie remarked, her eyes fixed on the design she was altering based off of your comments.

You quickly turned back around, thankful that she had read your confusion as romance and impressed that she was so aware of her surroundings. Maybe if people expected to see love, they wouldn’t look so hard to think it wasn’t there. You mentally rolled your eyes. Kidding yourself was a waste of time.

You weren’t sure what to say to her comment, so you stayed silent, pasting on an awkward little smile and hoping it was the right thing to do. She lifted up the modified design and you could only nod, speechless, your smile becoming genuine this time.

“So that covers your daily garments. I do have dresses for…” the words fell from her mouth and she pursed her lips, eyes flickering to the ground before she came back up with a smile. You looked between her and Loki to try and see what you missed, but Loki’s face looked nothing other than bored. She continued quickly before you could get a better read on the situation, “dresses for every day use if you want. Clothes are like armour. Whatever you need, I can get it done.”

There was a seriousness to her voice that made you think that she didn’t just mean that figuratively, but the ominous tone stopped you from asking outright what she meant by it. There was something they weren’t telling you, but you doubted either of them would tell you what it was if you asked.

You jumped at the movement by your side, not having heard Loki get up.

Loki took her hand in his, “thank you, Valkyrie. Truly.”

Her brows furrowed but she smoothed it over quickly with a laugh, “you are paying me, remember?”

“True,” he murmured, shooting her a look you couldn’t decipher.

“Go,” she shooed him away with a laugh, “I’m tired of seeing your face.”

He put a hand on his heart in mock offence, the playful king back as quickly as he’d vanished, “you barely saw me today.”

“And bring you future queen around more often,” she continued as if he didn’t have a point, “I like her.”

He grinned mischievously, “as do I.”

And in that moment, he looked so convincing that you could see why she believed him. Loki didn’t appear to be a stranger to lying, even to someone who he’d apparently known forever. Although it meant that your chances of convincing the council were better off because of it, you didn’t like what that meant for your end of the deal.

“You know, Valkyrie,” he began.

“Don’t bother,” she cut him off with a stern half smile, “I’m good where I am.”

He dipped his head low, “I know…not unless the realms are sinking into the seven hells. I remember.”

She nodded curtly but shot you a wink as if you knew what in Ceridwen’s name they were talking about. You smiled back, your brain already going through the possible things a king could have repeatedly asked a seamstress for. Nothing that made any sense came up and Loki was already waiting in the doorframe, ready to go, so you added it to the ever-growing list of things you didn’t understand but somehow knew were important.

After your goodbyes, you left the house the way you came, heading back up the mountain to the palace.

“The meeting with the council is in a few hours,” he said, that casual joking tone he’d used with Valkyrie gone from his voice, “I suggest you wear something nice.”

“A gown,” you clarified.

He shrugged, “as long as it’s nice.”

“So you wouldn’t mind if I wore pants?” you demanded incredulously. You couldn’t remember the last time you’d seen Nat in anything other than the constricting gowns Odin trapped her in.

“I thought you were gorgeous wearing the tattered clothes you broke into the palace with,” he strolled on without looking at you, “if we didn’t need the council’s approval I wouldn’t have said a thing.”

Stunned, you grabbed his arm and spun him to a stop, wondering what in the seven hells was going on. His lips curled into a wicked grin and he stepped closer, dipping his head so your eyes were practically at level with his glowing ones, “don’t worry, sweatheart,” he crooned, “I’m simply getting a little practice in.”

You grunted and pushed past him, muttering asshole under your breath even though you knew his Fey hearing would catch it. You had a good idea where you were headed so you stomped forward, letting him stroll a few paces behind you. It didn’t matter that he could easily catch up to you if he wanted. The false sense of privacy made you feel better. It gave me the space to breathe.

You took in your surroundings enjoying the streets of Natalos. You stopped your stomping, taking your time getting back, not sure if you’d be stuck in the palace or allowed to roam wherever you wanted. You were hoping the latter, not only because you hated the confines of the palace but because there was a chance the Hand was in the city and you didn’t need the extra obstacle of trying to sneak out.

You weren’t sure if you would be stuck in the palace or if you’d be allowed to wander wherever you wanted. You hoped it was the latter not only because you hated being stuck in the palace but because there was a chance the Hand was in the city and you didn’t need the extra obstacle of trying to sneak out of the palace.

The sun had gotten much stronger, hanging overhead now. The kiss of the heat on your skin felt like it was finally melting away the cold of Niflheim. You sighed, closing your eyes for a fraction of a second as you walked, basking in the feel. You and Nat would feel the sun again. You would escape. You had to.

“Watch out for the fruit,” Loki interrupted your thoughts, much closer than he was before.

“What out for the what?” you echoed, stumbling to the side in surprise and trying to figure out what he was talking about.

His eyes widened and he reached out for you. You backed out of his grasp instinctively,  grabbing onto the nearest tree to keep from tripping over. Then something cracked down on your head and it started pouring rain. Your whole body straightened in shock as the water poured down your face and neck, and down your spine. And then the stench hit you. You gagged. Wiping the liquid from your eyes, you noticed it had a slightly pink hue and was more like goo. Loki was completely dry. It couldn’t be rain. So what was it? He motioned for you to come closer, his lips tight as he tried to suppress a smile.

“What in the seven hells was that?” you practically shouted.

He pointed above, still not saying a word as he tried to keep himself together. The tree was massive and dark blue, sprawling across half the street with its thick branches and fan-like leaves. Hundreds of pink fruit about the size of your head hung precariously, swaying gently in the breeze.

“That’s not an explanation,” you growled, wiping more of the foul goo off you.

He swallowed and pointed to a sign that read, Beware, falling Junabees. This time, you actually looked around. If you hadn’t been so distracted, you probably would have noticed the pink-stained cobblestones littered with Junabee carcasses — that and the blatant warning. You took another step back toward the other side of the street just to be safe and glared at him.

“I wouldn’t walk too close to the edge next time,” he chuckled, though the wide grin on his face told you that he was enjoying this far more than you were.

“Why in Ceridwen’s name would you people keep this here?” you demanded, “it’s disgusting.”

He paused at your reference to the old gods and shrugged, motioning for you to come a little closer. You took a wary step forward, only following his request because you weren’t sure the Junabees were done with their attack. Tentatively, he raised a hand. You flinched back and he paused waiting for your nod. He brushed some of the goo off your cheek with his thumb, the motion slow and gentle. You stood still as a statue, not sure how to react. His eyes were bright and focused, the corner of his mouth quirked upward in the ghost of a smile. All you could do was stare at him, barely breathing.

“They’re surprisingly difficult to grow and the berries can be quite delicious when prepared properly,” he murmured, taking more of the goo out of your hair, “so we let them grow wherever they chose to pop up. No one’s allowed to cut them down.”

The thought of eating one made you gag, “and how do you prepare them?”

His lips pulled into a sly grin, “wine.”

You scoffed and pushed past him, trying to clean out the goo out of your ear on the way. You were tempted to grab a Junabee and throw it at him, but you were too worried that it would burst in your hand if you tried. That wasn’t a risk you were willing to take, even to put him in the same situation as you.

He caught up quickly and kept stealing glances at you that were impossible to ignore.

“What?” you snapped.

“When we walk into the council room, you might want to wipe the murderous look from your face,” he mentioned with a grin, enjoying this far more than he should.

You looked around, trying to find something to take your mind off the fact that you wanted to punch him, “give me what I want, and you won’t have to worry about me meeting your council,” you said through clenched teeth.

A slight chuckle was all you got in response and he led you down a street you didn’t recognize. You couldn’t tell if he was showing you more of the city or making sure that you couldn’t find your way around it. You sighed. This was going to be impossible.

You were dragging your feet when you walked into the palace later that evening, your thighs burning from climbing the steep streets. You couldn’t help but think that all of this would have been easier if you weren’t human. There was nothing you could do about it now, but it didn’t change the fact that you hated it. Though now that you were stuck, all you wanted was a nice dinner and a warm bath, both of which were things you could actually get here and not in Niflheim — that was if you could get through this stupid council meeting or party or whatever it was.

“Valkyrie has already sent over a few options for you,” he said when you came to a stop in front of your door, “I would recommend you wash up before you meet the council. I can’t have them thinking you live in the pig sty.”

Although your heart soared at the idea of warm water, you were far too grumpy to be thankful, “and so what if I showed up like this?”

You tried your hardest not to wince as the pathetic retort came out. You were fed up and sore and not your best on an empty stomach. It probably would have been better to ignore him, but the words were out now.

He smirked, “take a bath or don’t. If you repel the council with your stench, I can’t say that I’ll be disappointed.”

“You know,” you huffed, “the only reason I smell this bad is because you didn’t warn me about the stupid Junabees in the first place.”

“I told you to be careful,” he countered, leaning lazily on the doorframe.

You nodded like he actually had a good point before snorting, “sure. I doubt you could have been any more vague about it if you tried.

He grinned and pulled a little more goo out of your hair.

“Ugh,” you stormed past his still grinning face and into you room.

“I’ll be back in an hour,” he called before you slammed the door in his face.

“We’ll have to make this quick,” Loki said, walking into the kitchen, “I left YN alone to wash up and get changed before the council meeting and told her I’d be back in an hour.”

“So we’ve got forty-five then,” Bucky said with a smirk, propping his feet up on the table.

Loki shook his head, “let’s make it thirty.”

That only made his grin spread even wider, “I see you’ve got your hands full with our future queen.”

“That may be so, but at least she’s not boring,” at Bucky’s raised brow he said, “she discovered the Junabees today.”

“So a solid thirty minutes then,” he chuckled, both of them fully aware of how hard it was to to wash that goo out of hair.

“Let’s get back to business,” Nebula snapped from the head of the table, cutting them off before they could say anything else.

Loki nodded, knowing he’d been putting it off. With his assassin back so soon, it could only mean that there was nothing good to report. He didn’t want to ruin his surprisingly good mood with the same answers Bucky had been coming to him with for the past two moons, but he had to get it done and over with.

“Right. Bucky. You found…” Loki drifted off, unable to ask the question he already knew the answer to.

Bucky shook his head, “nothing. If Hella’s working with someone else, then she’s hiding it extremely well.”

“There someone else,” Nebula affirmed, shooting Bucky a fierce look, “I’m sure of it.”

Bucky turned and gave her his full attention. They said nothing, but Loki knew that the Angel and Dark Elf could practically read each other’s minds. They had only ever told him bits and pieces of what had happened all those years ago before they had found him, but he knew they wouldn’t be sitting in his kitchen if they hadn’t found each other first.

Bucky nodded, “okay. I’ll find whoever it is.”

“And what about that future queen of yours?” Nebula snapped, whirling around to him. From her place at the counter, Wanda looked over her shoulder, but didn’t say anything. Nebula drove on, all business, “who’s she working for? You said she wants the Hand but I don’t believe for a second that a human who knows nothing about magic wants the Hand for herself.”

Loki shrugged, “herself, someone else, it doesn’t matter. Either way, she’s not getting it. The Hand stays locked up, right now more than ever. If anyone else gets their hands on it…”

They shuddered, still haunted from the last time the book had fallen into the wrong hands.

“What did Gamora have to say about it?” Bucky asked, offering Nebula half of his bread roll. She looked at it with hatred, but Bucky shoved it her way until she took it.

“She hasn’t spoken to me since YN’s arrival,” Loki looked over at Wanda, “any luck on that end?”

“I think so,” Wanda slid the potatoes she’d been chopping into the large pot and came their way, “Gamora says that she can’t remember who cursed her but I believe that’s the key to breaking it.”

Loki stared at Wanda, intrigued and a little impressed Wanda could get Gamora to divulge anything personal about herself, “go on.”

“Right, so we haven’t gotten anywhere because we haven’t been able to identify the magic that was used to curse her, correct?”

“It’s like nothing I’ve ever seen” Bucky said, leaning back in his chair to look over at Nebula who shook her head.

Despite all of his training, Loki also had to agree, “it’s beyond anything I’ve ever seen. And the Witches are still being silent, but I doubt that even if they agreed to help, they’d know what it was any more than we did.”

“Right,” Wanda went back to the pot and stirred a few times, thinking, “which is why I doubt any of us can figure out what it is. I think Gamora is the only person who could identify the magic, so what if we knew who cursed her?”

Bucky grinned, “then she would know what kind of magic was used to bind the curse.”

“We don’t actually have that information,” Nebula pointed out gruffly.

“Then we’d need a remembering spell,” Loki suggested, knowing that just because they now had a new theory didn’t mean they were any closer to breaking Gamora’s curse.

Wanda winced and tilted her head from side to side. He sighed. There was no doubt in his mind that he wasn’t going to like what she was about to say next.

“Or we’d need someone to get in her head.”

“No,” Loki answered immediately, “no. She’ll never let me in and trying might kill me. Her power might only be a tenth of what it used to be but that’s still more than I’m willing to bargain with. If I managed to unlock the memory and I’m still in there…”

“Then we’ve fried the king,” Bucky added helpfully.

Loki shot him a looked that earned him a cheeky grin in return.

“Wanda’s option might be the only one,” Nebula countered, glaring at Bucky, “memory spells are hard to come by and even harder to execute effectively — even for Loki.”

“It’ll be her decision,” Wanda affirmed though her voice was no louder than a whisper. They all snapped to attention knowing she was right, “if she thinks it’s safe, then it’s her decision whether to go through with it or not.”

Loki nodded solemnly, “agreed.”

Wanda walked back over to her pot, stirring and humming softly as if they hadn’t been discussing Gamora’s fate, “I’ll keep looking for a spell, but you should talk to Gamora.”

“You don’t want to do it?” Loki asked with a smirk.

She offered him a small smile, “I know you’re going to see her later. The honour is yours.”

“How kind,” he said with a laugh before heading back out to get ready for his meeting with YN and the council.

[notyourfathersdungeonmaster]

How to Make Powerful NPCs Interesting Again

We all know the trope: the powerful wizard hires the party to go run some minor errand, which inevitably leads to them stumbling onto the World-Ending Plot, which they have to solve, alone, with only the occasional advice from their wizened mentor. It's a trope as old as time; even Hercules got occasional boons from godly beings to help him on his quests. It's a great narrative device, until some player stops and asks, "If this wizard is able to stop time with a snap of his fingers, why doesn't he just stride into the field and shove a ninth-level fireball into the Lich's cranial cavity?"

This simple bit of cognitive dissonance can really ruin the fun and undermine the urgency of an otherwise great adventure. If the party knows that the only reason they're on this quest is because Randalf the Off-White can't be bothered to deal with the horde of undead outside his tower, it can make them feel like chumps or patsies, and undermine any sense of gratitude that comes later during the campaign's denouement.

There's a few simple ways to fix this, though: tricks that can help you, the DM, keep your high level NPCs while also explaining why the great powers of the world are relying on this band of scrappy adventurers to solve all their problems. Below are just a few.

The Balance of Powers

This principle is a great one, but is often sadly overlooked in many campaigns. Simply put, in the above example, the wizard mentor doesn't get involved not because he can't, but because doing so would bring in a whole host of other powerful beings that would complicate the conflict. Perhaps there's a council of archmages who have all agreed, for the sake of maintaining the fabric of reality, that they should keep their Ninth-level spells in their pockets unless they all agree it's necessary. Perhaps the BBEG has a patron on the Council, and the mentor can't interfere on his own without dragging his evil opposite into the campaign. This can actually make for a great part of the climactic battle: the mentor decides he can't stay on the sidelines anymore, and joins the fray, participating in an epic wizard's duel.

This can also be used with deities bestowing boons on the party: they can act indirectly by helping the party, perhaps because one of their rival deities is already helping the BBEG. Thus, the conflict of the campaign turns into a proxy war for a larger divine conflict that can't be fought, because it would annihilate all of existence. If you do take this path, make sure your NPC stresses to the party how essential it is that they solve this issue, because if the major players themselves join the fight, no one will survive.

The Protector of Reality

Similar to the Balance of Powers, this rationale places the Epic NPC in a conflict from which they cannot afford to divert their attention or resources, even for a moment. Perhaps there is a constant threat of otherworldly incursion for which they need all (or almost all) of their capabilities; after all, you don't want to be caught with your pants down and your spell slots expended when Tiamat bursts through the material plane like an alien parasite from a man's stomach. Even the threat of such an apocalyptic event would mean that, like a missile in a silo, an epic level NPC would have to sit dormant, never expending his magical capabilities because he never knows when they may be required. This is actually a great archetype to use for the Wizard in the Tower trope; they may have built themselves a convenient magical retreat at great cost because they couldn't afford the spell slot to cast Mordenkainen's Magnificent Mansion everyday, not while that same spell slot may be needed to banish an archduke of the Nine Hells. So, they sit in the tower, separated from the affairs of the world by necessity - but, still caring about the world and wanting to make sure it's not a shit place to live, they can find and recruit adventurers to handle the more mundane threats that don't shake the foundations of the universe. This is also a great twist finale to use on the party: perhaps the Wizard in the Tower joins them in the final boss battle, expending all his magical power -- only for, at that moment, the threat he's been guarding against for centuries to finally arrive, and now it's up to the party to stand against them where he cannot.

The Otherworldly Being

This works especially well with warlock patrons, but it can work similarly well with questgivers and friendly NPCs that have an otherworldly or spiritual bent. The key idea is that the force recruiting, motivating, and rewarding the players is not located on the material plane itself and is therefore unable to act on it; they need to find a local agent to handle the problem. There is plenty of inspiration throughout myth and folklore; dream visitations, whether by angels, fiends, fey, or Lovecraftian horrors, are particularly common as an impetus to get an uncooperative character to fall into line. There are more tangible methods of communication as well; perhaps they are a being of immense power that is trapped in every mirror in the world and needs an agent to eventually get them free, or perhaps they can only manifest through signs and omens that require interpretation. If you want to pull from Greek mythology, there's also the possibility of a dedicated oracle who acts as the voice of the gods, but gives only vague, ominous prophecies that won't reveal their true weight until later. In all cases, a clear distinction is established between the power of the questgiver and the limitations of their abilities to influence the mortal realm, making the party the ones with agency in the situation.

The Hidden BBEG

You'll want to be careful how you use this one, because you only get one shot to pull it off with a given group, and once the players suspect something it is really, really hard to recover from it. The basic premise is that the powerful NPC who recruited them, who sent them off to fight against the Big Bad Evil Guy, was secretly a villain themselves, trying to bring down their rival or clear the way for their own scheme. Think of Emperor Palpatine from Star Wars, sending the Jedi across the galaxy to deal with the Sith and the CIS, only to betray them all. Unfortunately this has become a major trope, and given how paranoid players typically are, it's very hard to pull off. There's a couple of tricks to making it work, and some of them may seem counterintuitive.

Do not make the Hidden BBEG perfect or flawless. Establish a set of motives for their actions, ones that may seem prosaic but also have a selfish bent. The high priest wants to rid the land of the evil king who is oppressing the population, but who is also stifling the priest's ability to build his church. The noble ruler wants to defeat the opposing empire that threatens the peace and stability of his lands, but also is motivated by revenge for the war crimes committed in the past. Create a pretext that puts them on the same side as the party, but a subtext that leaves the party slightly uneasy. If the party is concerned about their ally having selfish motives, they'll be expecting selfishness, even recklessness, but not duplicity and betrayal.

Do not reveal the full capabilities of the Hidden BBEG. If anything, they should appear to be about mid-level; capable, but not able to handle world-shaking threats. Most often they are hiding their capabilities until some final piece is brought into their grasp. One excellent example would be Fraz-Urb'luu, one of the demon princes of the Abyss, who is obsessed with recovering his staff of power; as a Hidden BBEG, he might pose as a friend to the party, waiting until they recover all the pieces and bring them to him before he strikes, showing his true might. Another excellent example is the Heirophant from the classic geek movie The Gamers: Dorkness Rising.

Show genuine conflict in the Hidden BBEG. Let them display passion and inner conflict, moments where they are troubled by the methods the party uses and the methods they and their followers are forced to use. There's an old adage that every villain is the hero of their own story; if you can make that ring true for your Hidden BBEG, to make the party invested in not just their cause but in maintaining their moral character, then the betrayal will hurt even more.

The Common Crowd

This might seem counterintuitive, but sometimes the best Epic NPC isn't epic at all, but just a collection of ordinary folk. If your campaign originates in a specific village or town, especially one full of colorful, memorable NPCs with personal ties to the party, then the collective needs and will of that settlement can become a questgiver NPC in its own right. The town is suffering from an unnatural drought? Send the party to seek out aid or a magical cure. The town is displaced following an invasion? Keeping the town safe and finding them a new home becomes a priority. This can also become a source of individualized side quests for the PCs; they're likely to be far more concerned about seeking out the rare medicine required to save the orphan girl who the rogue took under wing than they are about exploring a random tomb for loot drops. Plus, if the PCs invest their time and effort into protecting the town, it can make for an amazing final battle when the townsfolk come to support the party in battle, armed with everything they can get their hands on, ready to die for their heroes (a.k.a. The 'Mass Effect' Effect).

I hope these provide some good inspiration for your campaign! Let me know if there's any tricks you've used on your campaigns that worked particularly well, or any that you think should be added.

[minaminokyoko]

A Love Letter to ‘Knives Out’

Disclaimer: This isn’t even a review. This is literally just me freaking out about what a great movie I just bloody watched and I just need to vomit words everywhere about it. Sorry in advance.

I think the best thing ever is I went into this with zero information. I remember seeing the original trailer months ago, but it wasn’t detailed. Just the short one of the premise, and to be honest, I’m not really into Whodunits. Clue is one of the exceptions and Castle is the only detective-related thing I’ve ever liked and followed religiously (up until the final godawful two seasons), so I have no predisposition to even care about murder mysteries. But then Rian Johnson dangled the juicy carrot of Chris Evans playing against type (because we all know the man is a sweetie and I can personally vouch that he’s great at hugs) and so I decided to add it to my watchlist. Then the reviews came pouring in that it was great, which surprised me, and so I decided to take a leap of faith to see if the hype was real.

Oh God, was it ever.

Y’all know me by now. I’m a hard, cynical old bitch. It’s tough to impress me, but fucking hell, I really loved Knives Out.

It’s not that it does anything new; it’s that it is a fresh, creative spin on tropes we’re used to and it’s also the strong performances that just make it a delightful film. It’s kooky and dark and offbeat. It’s charming. It’s wonderfully political. It’s irreverent. This is the niche kind of writing that I adore. It’s why I’ve loved shows like Frasier or movies like Snatch. I love the interwoven mess between the plot and the characters and everything coming to light in a big explosion.

Spoilers down below for my talking points, naturally.

I want to start with Marta, simply because I love how this movie framed the character as innocent, but not stupid, useless, or weak. I love that she had a great relationship with Harlan. I love that Harlan didn’t have any evil ulterior motives. It was simply a man who looked around and realized that he thought he was providing for his family but all he really was doing was supporting selfish, downright cruel people. That family basically just siphoned off of him and had the entitlement complex that is currently killing this country right this fucking second. It was very satisfying when he left them nothing and gave Marta the money and the choice of what to do. The final shot of the movie is genius.

Which segways into probably my second favorite thing about the movie: the commentary about the entitled upperclass versus the working class immigrant. The whole Trump debate during the party made me groan because we all just wrapped up three holidays, so I know that people were having to go home for the holidays and listen to the broken-ass logic of their Trump supporter relatives. Especially since they dragged Marta into the bullshit conversation. I LOVE the writing of having this girl who busted her ass, who listened, who was a genuinely good person, still being able to be a good person in the end after one hell of an ordeal. I loved how the movie poked all kinds of holes in the fake narrative of inheritance and immigration and patriotism. Fuck that. This country isn’t some holy land. This country was stolen from the people who were born here and then they built a fake fucking pedestal on top of the mass graves and proclaimed it theirs. Fuck that revision history and fuck the people who believe these lies. This movie is so satisfying because it’s a giant middle finger to those people and it’s a reminder that the future is these hardworking, kind people who care about society and they are the ones who have earned all the good things this country has to offer.

I also love the examples of bigotry and microaggressions that were more subtle. The WASPs in this movie don’t even realize the backhanded compliments and the truly insulting shit that they do since they’re so entitled. For example, Richard handing Marta his plate while he was arguing for Trump. That’s brilliantly done. He thinks of her as a servant while he pretends she’s on equal footing: saying one thing and yet his actions prove the opposite. There’s also Meg’s comment of “we’re his REAL family,” showing that those bastards all will smile and welcome you until the second you cease to be useful to them and then they show you just how truly ugly they are beneath those “civil” masks. When the will was read, it was the exact shitshow we all knew it would be. That was a great representation of the upper class. It’s not about being loud and racist; it’s all those subtle, hideous things they do to suppress people of color and the working class so they can stay on top where they think they belong. This narrative is powerfully woven in that regard and I really needed to hear this story in today’s climate, especially since we just started 2020 today, which could be the end of everything all over again. I applaud the writing. As a woman of color, I see this kind of shit every single day, especially now that I work in higher education, so I really hope it opens more eyes to the shit that not only immigrants but working class POC deal with on a daily basis. I likened it to Zootopia, where you came to the movie for one reason but then you were served an absolutely piping hot side dish alongside the entrée. Well done, Knives Out. Well done.

I need to give a nod to this powerhouse cast as well. I forgot Michael Shannon was in this movie so seeing him made me giddy, as I’ve always liked him since he’s so damn sinister. He’s a great antagonist actor and I almost wish he’d been given more to do. Jamie Lee Curtis did great as well.

But y’all know what’s coming. I mean, look at my profile picture. You know I have to stop and talk about my future husband’s performance.

Chris Evans as a villain.

Not only that, but Chris Evans as a GREAT villain.

Oh, God, pass me the cigarette.

We all knew from his work in the MCU that the man can act his fine America’s ass off, but boy, did I really like his role here. I compare it to Chris Hemsworth in the godawful movie Bad Times at the El Royale, because while that is one of the worst movies of the decade, it was extremely smart in casting Hemsworth in the villain role. Why? Because it sold the believable factor. Chris Hemsworth is so handsome and charismatic that he COULD in fact be a creepy ass cult leader. You take one look at that man’s chest and tell me you wouldn’t fight a smelly hippie to jump in his bed. Damn right I’d be in a Chris Hemsworth cult. Point being, Chris Evans as the handsome but cruel Hugh was phenomenal. I really enjoyed seeing everything unfold. He did such a great job. It’s all the more satisfying knowing that in real life, he’s the cutest, sweetest goofball on earth. I’m so delighted he took this role because he knocked it out of the park.

Which brings me to my next point.

I’m gonna be a basic fangirl bitch for a second here. Just hear me out.

I’d LOVE an alternate ending to this movie where Hugh didn’t do it.

I know, I know. That’s super basic and dumb and I know part of it is because I just wanted to like Hugh anyway, but it actually would be a great piece of storytelling if you changed the ending.

In this premise, Marta really did mix up the bottles and accidentally killed Harlan. Well, what I would change is that Hugh really did have a benevolent epiphany and he decides to come back to stick it to his shitass family and he figures out what Marta did and decides to help her so she’ll slip him his cut. Then the rest of the film is Hugh and Marta trying to cover the rest of their tracks so that Blanc doesn’t piece together Marta’s accidental crime. Over the course of helping her, Hugh gets to know her and they become friends, so by the time they pull it all off—mind you, I’m ambiguous in this AU, I’d be fine if the detective works it out but lets them cover it up or if they actually manage to just destroy all the evidence so he can’t convict her and he admits defeat—he’s now invested and doesn’t accept the money when she goes to pay him. Bonus points if he falls in love with her during the cover up. It’s not necessary, but I saw a couple little sparks, so I think it would be very cute if Hugh and Marta hooked up to protect each other from the horrible family and build their own empire together. But that’s me.

Trust me, this movie is brilliant as written. It doesn’t need that alternate ending. But I have to admit it got my mind churning about what a fantastic character arc it could be if Hugh hadn’t been the bad guy and he and Marta learned things about each other and formed a friendship. I’m a writer, it’s kind of a hobby, sorry. I hope I’m not the only one who thought that, but we’ll see.

I’m so glad I started 2020 with this film. It’s a rare gem. I can’t wait for it to get on DVD, because I am gonna snag it asap and watch it again. What a romp. It’s also gratifying in a petty way that J.J. Abrams went out of his way to undo Rian Johnson’s work in the Star Wars franchise and it’s backfiring majorly critically speaking meanwhile Knives Out is getting bomb ass good reviews, so good for you, Rian. Your revenge is at hand. #TEAMPETTY

I can’t recommend this hard enough. If you love murder mysteries or if you just love Clue-style quirky black comedy, please see Knives Out. It’s worth every red dime, to quote the movie.

Kyo out.

[multsicorn]

I really like the set-up of She-Ra!  I just watched the first two episodes, and: first of all, the reversal of tropes in which princesses are scary vicious monsters and our protagonist’s home is in The Horde is fun.  Framing the pink-blue-purple pastel people as the enemy, and the more military aesthetic themed place as the site of friendship.

And then!  Setting up a central conflict around ‘everything they taught me is a lie’ - ‘sure, but do you trust these people!? and you’re leaving me!?’ - which I imagine will be complicated a whole lot over the next *checks hand* five seasons, is... very tasty.  Crunchy, chewy, as they say.  Lots to dig into, there!  Who does one trust!?  Who does one side with, protect, and how do you know?

The design is cute, the humor around the party (‘you don’t know what a party is!?’) especially was funny-cause-it’s-true in the best hurting and relevant to (the visible already) themes of... no, how were you s’posed to know?  If no one told you?  Which is so fucking relevant to uh my experience of/the way I think now about childhood, anyway.  And I can imagine it hitting A Lot for some kids.

I’m expecting, as I said, things to be complicated - maybe it seems at the end of ep two that the Horde is Evil and Bright Moon is Good, but I’m preeetty sure we’ll come around to ‘neither is capital-letter either’ in not too long.  Judging by both what I’ve seen so far and tumblr’s enthusiasm for the show.

anyway!  ‘on opposite sides of a war from your best friend’ etc. and all the rest of it about fucked-up childhoods and playing with aesthetic tropes is Exceedingly Much My Jam, and I only can’t say ‘I wish I’d been watching this the whole time’ cause lol I’m so BAD at watching tv.  If I’m not actively in fandom pushing me to keep up with it every single episode, I’ll fall behind... and I’d probably have more avoidance-feelings about picking it back up if I had been ‘failing to watch’ it!  (I know.  I’m weird.)

BUT hopefully this will continue to be fun to watch!  And when I get really invested this liveblogging may degenerate into posts of significantly less coherence... ha.  And hopefully it won’t frustrate me by being too kids-y or betray my hopes in its potential generally... (YES, I was spoiled about That One Thing, that’s why I’m watching lol)... I just guess I will have to see!

[everlarkficexchange]

Everlark Fic Exchange: Masterlist

Springtime Edition (2019).

It's Your Birthday 2 by @sunsetsrmydreams

Prompt 3: When students are forced to squeeze together and share seats because of water damage in classroom, Peeta and Katniss spend hours pressed against each other, like in cave, whispering, sharing... [submitted by @567inpanem​] 

Love the Sunrise by @hutchhitched

Prompt 7: Peeta opens his bakery back up after the war. There are, as expected, lots of female customers who would like to get a little to close to Peeta for Katniss's comfort. Sensing her jealousy, Peeta sets out to prove she has nothing to worry about (can be rated M, if you please!). [submitted by @albinokittens300]  

You Belong with Me by @iliveilaughiloveiread

Prompt 10: Based on "You Belong With Me" by Taylor Swift music video: Katniss is Lucas Till's character, she has a relationship with Gale, but she doesn't really like being with him. Peeta is pining for her, like Taylor Swift's character, observing them and think he and K belong together. [submitted by anonymous]

Deliverance by @shesasurvivor

Prompt 16: The baker hires Katniss to make his deliveries as she walks her trade route. She gets eye opening glimpses of town life and especially of the Mellark family relationships as her job responsibilities grow and she spends more time in the bakery. [submitted by @567inpanem​] 

Singing Duets by @historywriter2007

Prompt 18: we’ve never met but our showers are on opposite sides of the same apartment wall so sometimes we’re showering at the same time and we sing duets AU? [submitted by Anonymous via @katnissdoesnotfollowback] 

You are my Sunshine by @wingletblackbird

Prompt 20: Gale returns and he and Katniss patch things up. Peeta seems to feel he's lost her to Gale even after they healed together. Katniss won't stands for this, and explains that no matter what, they would have happened anyways. "I'd chose you; in a hundred lifetimes, in a a hundred worlds, in any version of reality. I'd find you and chose you." [submitted by @albinokittens300] 

Extended Office Hours by @hutchhitched

Prompt 22: Student/Professor. Katniss is stressing out about an assignment and decides to go and talk to Professor Mellark about it, as he’s always been understanding and patient in class. However things turn awkward when Katniss stumbles upon him in his office after hours watching porn on his laptop. Is it deliberate, maybe he needed to relieve some stress or did his brother/friend send him a link to something that he shouldn’t have opened?? It’s up to you writer :) [submitted by @peetaspikelets] 

What can you Do? by @wingletblackbird

Prompt 23: I would love to read an In-Panem AU fic/this would have happened anyway story where we see the beginnings of an Everlark relationship and how it slowly turns into puppy love [submitted by anonymous] 

Four Steps to Being Single by @wingletblackbird

Prompt 24: Canon Divergence. Through the years Katniss can’t stop paying attention to Peeta and she’s actually aware of it. When they settle as victors in district 12 or when the time for the victory tour comes (whichever you prefer) she can’t keep herself away from him and the line between friendship and something more becomes blurry until it disappears. [submitted by anonymous] 

Maps by @wingletblackbird

Prompt 25: I have a song prompt based on Maroon 5’s Maps. It fits Everlark so much. Peeta was there for Katniss in her dark times while she almost gave up on him when he was at his worst down on his knees. But eventually he followed the map that led to her and they got back together. [Anonymous]

I Just Can't Remember Why We Said Goodbye by @butrfac14

Prompt 31: everlark on the brink of a divorce, but then they remember all of the things they've gone through, the sacrifices they made for each other, that they can't live without the other and end up not getting the divorce. [submitted by @sunflowerslyf]

The Unexpected by @albinokittens300

Prompt 32: katniss and peeta are best friends who have a biological child together (how they ended up having a kid is up to you and how they’ll get together is up to you) [submitted by anonymous]

Prompt 33 by @wendywobbles

Prompt 33: “Where’s my engagement ring?” [submitted by @sunflowerslyf​]

Katniss the Baker? by @norbertsmom

Prompt 34: Peeta offers to teach Katniss how to bake thinking it'll be a great laugh, but? She's actually kind of amazing at it? [submitted by @ally147writes] 

Prompt 41 by @wendywobbles

Prompt 41: Everlark based off the Hallmark Christmas Movies Meme:  I still going to watch them and act surprised when she falls in love with the small town baker who only wears sweaters instead of falling for the big city CEO? Yes! Does not need to be Christmas time, but definitely end game Everlark. [submitted by @historywriter2007]

Glitch by @booksrockmyface

Prompt 43: Prompt: I would love anything the "there's only one bed" trope.[submitted by @booksandchocolatesmears] 

A Father Figure by @wingletblackbird

Prompt 44: Their love was forbidden in more ways than the obvious one (older!Peeta). Their love conquers all even with revelations that destroys other person relationships. AU. Toast babies for extra cookies. [submitted by @animekpopxx] 

Prompt 45 by @butrfac14

prompt 45: They fell in love young, they married young. People keep telling them that it’s not going to last. Well, they are proving them wrong. [submitted by @animekpopxx]

The Raven and The Gods by @alliswell21

Prompt 46: Peeta, the Greek god Apollo, hears the most beautiful voice at his temple so he comes down to earth to find this beautiful maiden. Follows how this god falls in love with a mortal and withstand the trials the other gods put them through. [submitted by @animekpopxx​] 

1,498 mph by @alliswell21

Prompt 47: Modern. Peeta is back home on his time off from the Air Force or army. He meets the newest employee in the bakery, a younger Katniss, who’s working hard to help her family while still going to school. They fall for each other and they didn’t even know when it happened. [submitted by @animekpopxx​] 

Time of Peace by @alliswell21

Prompt 48: Their people had a period of peace that stared to crumpled when bad choices and bad people started to destroy that. With a war in the horizon, there is only one choose to keep the peace. The chief’s daughter needs to marry the crown prince. Werewolf!Peeta Humans and wolves. [submitted by @animekpopxx​] Fic by @alliswell21

Incubus by @alliswell21 

Prompt 49: He has spent centuries coming at night and sleeping with as many humans as possible, many dying from childbirth with no child to bear, or because his lust overpowered them. He needs to find a women that can live through his lust and birth an healthy offspring and after centuries, he thinks he found the one, the sixteen year old Katniss Everdeen. Dark incubus!peeta Angst Old times. [submitted by @animekpopxx​]

Mockingjay Temple by @creamytinydays

Prompt 50: In an ancient time, grief-strickened 17-yr-old Katniss (fatherless, emotionally abandoned by her mother, just lost beloved sister) walls off her heart, curses the gods for taking Prim, and is severely punished with immortality = unending days of mourning and emptiness in which life has no meaning, until she meets Peeta and learns it’s not years but love that makes a good life. In loving him the curse breaks, she is mortal again, and together they live a HEA. [submitted by @567inpanem] 

F-CATS by Buttercupbadass

Prompt 51: Fantasy: “Buttercup” (ironically named “Freedom Cat” by Capital scientist who created him) is an intelligent mutt designed to infiltrate rebel groups and sabotage uprisings, but after being healed by Prim and seeing the impact of Mr. E’s death, he turns on the Capital. “This whole operation was your idea.” [submitted by @567inpanem] 

Why Do I? by @hutchhitched

Prompt 53: Everlark have been friends for a long time. Then this exchange happens. Person A: Why Do I even like your dumb ass? Person B: Huh? Person A: *panics* I SAID YOU HAVE A NICE ASS. [submitted by @iliveilaughiloveiread] 

Reflections by @justajjfan

Prompt 54: Katniss, for some reason, using a car's window as a mirror not knowing there was someone inside the car because of the window being so heavily tinted. Until Peeta, the owner of the car, rolls down the window. [submitted by @sunflowerslyf]  

Up We Go by @sandyeyes

Prompt 59: "The 'caution floor is wet' sign was there, so it's not my fault you can't read." [submitted by anonymous] 

Tripping in Love by @neverstopwhileyoureahead

Prompt 60: Katniss and Peeta are both in a very crowded train when suddenly Katniss falls onto Peeta's lap and they don't know each other but Katniss finds Peeta really attractive. [submitted by anonymous] 

The Price Of One's Soul by @peetaspikelets

Prompt 65: Dialogue prompt “You did all of this for me?” [submitted by anonymous via @katnissdoesnotfollowback] 

Be In My Eye by @reachingforaspark

Prompt 70: No one Katniss knew got reaped, and after the 75th the games stopped, hunting became easier, she’s looking forward to graduation, and she feels a growing attraction to boy with bread but she’s clueless as to what to do after 1 ½ decades of acting role of son her father never had and man of the house. She approaches problem like stalking game: observe. She learns a lot but realizes she needs help from only one person: popular merchant and Peeta expert Delly who’s thrilled to help in manhunt <3 [submitted by @567inpanem]

To be Her O.A.O. (one-and-only) by @noneyabidnes​

Chapter 2

Prompt 73: Katniss marries Gale before he’s sent to fight WWII. Gale sends home his buddy Peeta to break the news to his wife and family that he’s fallen in love with someone else in Europe and is staying there after the war... Peeta is under the impression Katniss is a cold woman that only married his friend out of obligation but finds out the other side of the story soon enough. [submitted by @alliswell21] 

In from the Cold by @melacka

Prompt 74: In Panem AU (no reapings): Katniss miscalculated how soon a snow storm was supposed to hit D12, and gets stuck in town while trading with the merchants. Peeta comes out in the snow to get her to come into the the bakery... she thinks he’s either crazy, up to something or simply dumb... whatever happens next is up to you! [submitted by @alliswell21] 

In the End by @alliswell21​

Prompt 76: historical au where katniss and peeta are bethrothed since birth and peeta's mom is actually nice. they grow up to be best friends neither of them knowing about the bethrothal until something breaks their friendship and they become enemies. when they finally turn the right age, they find out about the bethrothal and are forced to marry and consummate their marriage even if they despise each other. [submitted by anonymous] 

Better Tomorrow by @mega-aulover

Prompt 78: forced to share a bed and building a pillow barrier but still waking up tangled together. [submitted by anonymous] 

The Virgin (Social) Suicides by @ally147writes

Prompt 85: Katniss makes unsettling discovery that everyone in her close and extended group of friends has dated at least once and sometimes even each other. Except for her. The “late bloomer” teasing (b/c she’s never even been kissed) stings. Older boy Gale crosses paths with group, finds he shares common interests with Katniss, they get together to hunt, leads to him casually inviting her out for a real dinner date. Not feeling desire but pressure to “get it over with,” she accepts. Peeta has regrets. [submitted by @567inpanem] 

Let Us Lay In The Sun by @knittingbutch

Prompt 87: Katniss and Gale are about to get married and while Katniss isn't entirely sure if she really wants to marry Gale, she does nothing to stop the preparations. While Peeta, realizing he can't just let Katniss go, does everything to stop the wedding and tell Katniss his feelings for her. Peeta thought he's a hopeless case the day before the wedding until... (it's up to you how it will end, but hopefully it's hea) [submitted by anonymous] 

Unmasked by M

Part 2 to ...

Prompt 88: Historical Katniss and Peeta hate each other. They attend a masquerade ball and for some reason end up kissing each other. Sparks fly everywhere. Katniss tries to find the man behind the mask but Peeta knows it was Katniss though he doesnt say anything. They end up bethrothed even if they 'despise' each other. How they fall in love is up to u and how katniss figured out it was peeta is up to u [submitted by anonymous] Fic by M

A Weight Off The Heart by @albinokittens300

Prompt 89: Canon divergence. Katniss and Peeta talk when they return to District 12 after the first games and grow closer.... [submitted by @thestuckinbed]

The Lake by @thegirlfromoverthepond

Prompt 92: Modern AU: Katniss is present when her father dies a traumatic death. She doesn’t just stop singing. She stops speaking completely. Desperate to help her daughter heal/express herself, Mrs. Everdeen enrols her in art therapy where she meets Peeta Mellark. [submitted by @wingletblackbird] 

By the Book by @hutchhitched

Prompt 94: Smut. Hot, sweaty, passionate, loving, smut. Everlark has to be married and it can only be the 2 of them. No three-somes or switching partners. [submitted by anonymous] 

Now Voyager by @mega-aulover

Prompt 102: There's only ONE bed! [submitted by anonymous] 

Prompt 105 by @butrfac14

Prompt 105: Katniss was naked when Peeta first saw her. [submitted by anonymous] 

A Second Chance by @javistg

Prompt 110: A time travel AU: Katniss from Mockingjay, (any part of the book, it's up to you), winds up back the day before her sister's first reaping. What does she do now that she knows what's coming? Now that she knows how Peeta feels about her, and she knows how desperately she needs him, and what they could share? What on earth could she, or should she, even do/change? And what is she should lose it all again? [submitted by @wingletblackbird]

Stranded Travellers by @historywriter2007

Prompt 112: I was hoping for one bed, but there are actually two, so now I have to find a way to naturally end up snuggling with you. [submitted by anonymous]

Long Exposure by @alliswell21

Prompt 130: Katniss works as a park ranger. Peeta is a photographer/artist coming to said park to find inspiration. [submitted by @wingletblackbird​] 

A Bite of Inconvenience by @katnissdoesnotfollowback

Prompt 131:  Visual Prompt. Text: 4 ½ stars out of 5. Delivery time stated between 45 to 60 minutes but it was delivered within 25 minutes. This was a bit of an inconvenience as I was balls deep in the wife at the time. [Submitted by @amazinglovers747]

Late submissions from previous exchanges:

Always You by @sunsetsrmydreams

Prompt 46: Broken-hearted Katniss goes to see a psychic, hoping to get one last message to her departed loved one (Goodbye? I’m sorry? Where’s the key to the safety deposit box?). Peeta is earning his college tuition using his charm and empathy to tell fortunes. What happens when they encounter each other? [submitted by Anonymous] Springtime Edition 2018.

You can also find some of these fics on our AO3 Collection.

[Ed. notes: Fics organized by prompt number]

[merilly-chan]

About Ven wielding Missing Ache

I've seen many people analyze the newest KHUx update and it seems like more and more people are jumping on the "Ven is the evil traitor" train. While I cannot prove this theory wrong and won't attempt to do so either since such an endeavor would be futile with Nomura and how far the story currently is in JP, I want to present a few interpretations on why they chose Missing Ache for Ven. ●Ventus' name obviously means 'wind' and an attribute associated with it that he displays is speed. He's faster than Aqua and Terra and his attacks are also swift and agile. Since the new union leaders all seem to wield Keyblades which are available to the player so far, it is only natural that Ven should wield a Keyblade befitting his name and fighting style. Not to mention that the image for the gems needed for leveling up the Keyblade is a wing, which is often a sign for wind and speed. That leaves us with three Keyblades that are solely speed-based: Sleeping Lion, Lady Luck and Missing Ache. Sleeping Lion is a Keyblade mostly associated with Leon, Lady Luck is a Keyblade which has a tight connection to Wonderland and Missing Ache originates from 358/2 Days and can be wielded by Roxas and Xion. ●As you can see, Sleeping Lion and Lady Luck aren't the most optimal choices for a speed attribute Keyblade for Ven out of the three we have since his connection to either Wonderland as a Disney world or Leon is rather weak. On the other hand, his bond with Roxas is inevitably fairly strong due to Sora and he's even the reason Roxas looks the way he does. (Duh.) His heart may have even stayed with him for a while if the Ultimania is to be trusted. So Missing Ache is the best choice from a standpoint which simply associates his name/trait and his connection to the characters and the Keyblades. But does it mean he's necessarily the traitor? No. ●Missing Ache may be a mostly reverse medal Keyblade in KHUx but the reason for that could be fairly simple. It's a Days Keyblade. Roxas was part of Organization XIII during that time it could be acquired and regardless of his own tendency, it is connected to the villains of the series. So it is no surprise that they would choose Missing Ache as a Keyblade which focuses on reverse medals. (Of course KHUx plays before Days but it still has its debut in Days which was released before KHUx.) Wielding that Keyblade has nothing to do with the wielder's innate darkness as far as we know at this point, considering many other Keyblades also use reverse slots. We also can't forget that Roxas's base element is light and he is not exactly an antagonist either. Yet, he can still wield Missing Ache just the same without being a vicious villain. I also want to address another theory because I feel like some are 100% certain Ven is actually evil and a traitor. ●There is the distinct possibility that there is no traitor at all. The only evidence there is one is a missing page of the Book of Prophecies which was written by the Master of Masters. People are taking the contents of that book as face value as though there is no possibility at all that the MoM could have lied. The reason would be fairly simple here, too. It creates doubt. The first time the traitor was mentioned was already within the Foretellers-arc and it was one of the main reasons they started distrusting one another and fought against each other. It was one of the reasons the war even happened. But was there actually a traitor among them? We cannot know for sure because the only evidence is that book written by a single person who could have instigated the whole thing to cause a war and follow his own agenda by doing so. The same could be said about the new union leaders. How can we be sure that Strelitzia was murdered by one of them? It could have been a whole other person who murdered her for the sake of either obtaining the book from her and/or in order to plant someone else into their ranks. Possibly without them even being aware that they are being made a pawn. I won't dive further into this because it's pure speculation at this point and we know too little to think about motives or intentions. ●If there is a traitor, they may not be the villain. First of all, the word 'traitor' sounds negative at first but even Axel was also called a traitor for defecting from Organization XIII and then helped Sora in the end. The same could be assumed for KHUx. If we consider the MoM the villain who provided a rulebook to follow, anyone who would diverge from that path could be labeled as a traitor without them having bad intentions toward anyone in particular but rather trying to help 'the good side'. One such example would be Brain. He essentially said he will become the virus which will destroy the system. Virus also sounds relatively bad because we often automatically link it to diseases and computer viruses which steal information or otherwise damage the computer and in consequence us users. But it's a matter of perspective. Let's take an example of an older movie. In Independence Day, the aliens were the aggressors threatening Earth and its populace, and in order to bypass an inpenetrable barrier, they implanted a virus into their system and hence saved the Earth by destroying the attackers. In that case, a virus was used to achieve something good for the heroes, ensuring their survival. As you can see, what sounds negative at first can actually become positive depending on how you look at it. Who's to say the system that was created for them isn't evil and won't lead to disaster? What if the so-called traitor decides to betray the rulebook and the rest because it would have disastrous consequences to follow it? We can already see that this rulebook isn't all sunshine and rainbows and already lead to a conflict whether to follow it. I am personally not too inclined to trust the Master of Masters yet and anyone labeled a traitor in the book he wrote may actually fight for keeping everyone safe. (Without taking this "Darkness" fellow into account just yet.) I know some people are desperate for dark, gloomy tropes because they believe in the one-sided mindset that everything is always better and more profound when it's tragic, twisted and grim dark. But I personally don't see a viable reason to turn a ten year-old into an evil, psychotic kid just to have something become twisted and for the sole purpose of a short-lived shock value. Especially because many assume he would be acting of his own free will and with evil intent instead of being used. Character development only makes sense if there is a necessity and overthrowing a character we've known for 9 years into a complete opposite is, in my opinion, just a cheap method to create a pseudo-depth to a character who was fine to begin with. Of course there are a lot of blank spaces and we know too little about Ven before his memory loss to say he was the cinnamon roll he is in BBS and beyond. Naturally, there is a possibility that he could have a much more sinister nature. As I said, I'm not denying the possibility that those theories are true. But some of these speculations and interpretations are just as vague as mine are. Mainly because they focus a whole lot on Vanitas as well. Once again, I can't say he won't play a role. But it's also possible that fans are overanalyzing it. Vanitas was born out of the darkness of Ven's heart. So of course his nature will encompass what the series has established as emotions nurturing said darkness. But there is no precedence and therefore it's hard to clearly say that just because Vanitas exists the way he does that Ven has been less pure in the past. We have nothing to compare it to. Maybe the same would happen for most other characters as well if they would have their hearts divided. After all, the Heartless are also highly dangerous and are hearts consumed by darkness. We know that darkness exists in every heart except for those of the Princesses of Heart, so Ven is no exception. A person which only has access to the darkness of the heart would likely still only have that negativity to feed on, regardless of how big its part in the original heart was. I'm not trying to claim what is right and what is wrong. Nomura makes some unpredictable decisions at times so it's hard to say what will happen. I just wish that people will not cling to their theories too much or I fear the same will happen as with KH3. Theories are immensely interesting to me and I enjoy other fans' interpretations but depending on how much they work on it, the harder it becomes for some to let go of it and accept a different development due to headcanons and the subjective opinion that this development is for the better. (Which we won't know because we don't know Nomura's plans.) I'm not saying that people were only disappointed because their headcanons weren't fulfilled, but we can't deny that they tend to fuel our expectations for what we perceive to be the ideal development. KH3 does have major flaws, but I dare presume that some overly negative opinions are also caused by overblown expectations because we had plenty of time to come up with all manner of intricate plans. (Which are by no means worse, but sometimes not better either just because they're very detailed.) It's best to remain open for the idea that Ven may just be a cinnamon roll or that his role as a traitor isn't due to a vile motivation but simply to save his friends. I won't discourage anyone from preferring the other options, I'm just saying it might not be as shocking and character changing as some believe. Wanting friends doesn't mean he'll kill everyone just to get some, to put it drastically. I think it's great that people love Vanitas and want to include him more, but I also have to remind people that the backstory in the novel still isn't canon. Books cannot throw around canon and non-canon, sometimes even flat out contradicting, content and pick out whatever aids their case. Fans might not like to hear it, but even if Nomura should have mentioned certain aspects are canon, it doesn't mean everything else is. The moment a novel based on another source contradicts what is established in the source, it cannot be canon anymore. (And I'm not talking about content which fills holes and could have possibly happened/expands the story, but about serious contradictions.) Which doesn't mean that it doesn't contain things that actually happened but overall, it cannot be declared as canon as a whole. All in all, I'd like to present possibilities which provide harmless explanations why certain things are designed the way they are. There doesn't always have to be a dark secret and not every cheerful character needs to be corrupted for the angst-loving part of the fanbase. If people wish for that it is up to them. I won't deny them that pleasure. I just don't want to see anyone attacking Nomura if he doesn't cater to that headcanon. I know most of the people theorizing about this are perfectly harmless and aware of this and are just eager to explore all manner of interesting possibilities. Which is an admirable passion I am not against seeing. I actually think it's great that there are theories like these because they provide interesting material for discussions. I am just more careful about setting on one theory above any other, simply because KHUx has mostly given us questions instead of answers so far. Everything is possible at this point, which is why I want to remain open for as much as possible. The points above are not meant to disprove anything the other theories are suggesting. They are merely a showcase how certain terms can also be interpreted and that there are alternative explanations.

[simonjadis]

I've always felt divided on shaming others for shipping "problematic ships." Don't get me wrong. I get the icky implications of Reylo but at the same time, well, I don't want to be that "No Fun Allowed" guy to teens and young adults who are just chilling. Sure, plenty of those shippers can be problematic (see how Finn is villainized unlike Kylo) but they don't speak for everyone.

That is super fair!

To be honest, I don’t really see Reylo as falling under the major “problematic” umbrellas. Imo, most Reylo shippers are thirsting after one or both parties, which is fine. My Star Wars OTP is Sheev/Vader. I don’t ship Reylo but it’s not a NOTP for me by any means. (I find Kylo and Snek disappointing as characters and as the only Dark Side representation in the series, but Kylo has nice hair and nicer tatas)

I remember seeing arguments after TFA came out where people equated Kylo’s (attempted!) mind-reading to sexual assault or to abuse. While it’s very fair to not want to ship someone with their abuser, I think that an enemy from the opposing faction is a very different concept, and that fantasy violence between enemies should not be misconstrued (remember the hubub about Mystique vs Apocalypse in 2016? That kind of sentiment is what made female superheroes relegated to having long-range energy powers and then passing out for decades. Let’s not go back to that).

I absolutely agree that it’s horrifying to see Finn, who has literally done nothing wrong, be villainized. It’s always a mistake to pretend that a rival ship is awful so that you can feel more secure about your own, but it’s extra bad when it’s the series’ first leading black character. That said, from my perception, I don’t think that those condemning Finn represent the majority of Reylos.

More generally, I think that what someone ships, in their imagination, only rarely reflects who they are as a person or their real-life values. It’s pretend.

While we’re right to judge books, films, shows, and games on things like representation, those pieces of media are not the same as fanfic, let alone smutfic. Fanworks are distinct in multiple ways.

Gonna get into this: cw for a reference to incest

For example, when Supernatural first launched, I watched the pilot live in 2005 (I am 1000 years old) and immediately shipped the only two actual characters, who both happened to be hot guys: Sam and Dean.

(Note: I don’t actually ship them anymore, but tbh I haven’t watched the show since Season 8 and even before that, I had grown to despise them both – one of the perils of writing a very long-running show with lots of personal drama is that characters do things that cannot be forgiven by some viewers. But that’s irrelevant.)

Only later would I learn that they were largely inspired and even named after Sal Paradise and Dean Moriarty, two bisexual main characters from On The Road who were lovers, and who were based upon real men who were also lovers. (Which goes into part of why Supernatural is fucked up – notably, Castiel was also inspired by Constantine; another case of a straight character based upon a bi character, and that’s without getting into the issues with race, gender, and worldbuilding)

At that point, fandom culture (in my experience at the time) only treated incest as a squick – something that some people personally disliked, as one might be turned off by mpreg or watersports, etc.

Why wasn’t it a squick for me? Who knows tbh. I have zero brothers and I’m gay, so I never had to develop a feeling of aversion like that.That’s my best guess. I didn’t exactly fetishize those ships, but if there were only two hot dudes in a story, I didn’t think anything of it.

(Note: I think that incest ships may be specifically appealing to some fans because the bond between the characters is already secure? A similar appeal to the “found family” trope but the opposite thing. That’s just a theory)

However, upon coming to Tumblr, once I got over my culture shock of seeing people treat imaginary pairings as not squicks but moral indictments, I did come to understand where a lot of people are coming from with this!

For some people, it’s not just a personal squick, it’s an extra-strong aversion because they’re leery of incest being fetishized (for example, most real-life twins do not find twincest jokes funny!). More often, it’s people who were abused in real-world incest and cannot fathom why it would be someone’s kink or even factor into someone’s ship.

The solution to any sort of ship that’s going to remind someone of the worst moments of their lives is to do what I did in bold, above: use a content warning. If your fic contains sex abuse or incest or whatever, please tag your work. The same is true with fanart. If you want to share your other media with friends or the fandom at large but worry that your kinks may be off-putting, literally just make a second art/writing account or a separate blog to share those.

Don’t deliberately take people bag to the worst moments of their lives.

HOWEVER

We’ve seen a lot of people write about how they don’t want to see fandom treated like Catholicism (or, alternatively, as Protestantism; the word that they’re looking for is orthodoxy).

People have every right to ship whatever vile things they like. That goes for things that personally horrify or squick me. All that they need to do is be respectful in public spaces and to upload their work/commentary in the appropriate places with the appropriate tags, warnings, and readmores.

I think that people who don’t feel especially powerful or in control in life are the ones who get the biggest kick out of things like gatekeeping, exclusionist rhetoric, and being fandom police. Others are simply well-intentioned but became carried away. Not all antis are bad people, but it’s not a healthy thing about which to frame your personality and your online brand.

Your personal dislike of something doesn’t make you a morally superior person. As someone who hates mushrooms, I know that it’s tempting to believe otherwise, but it’s true.

And wielding social justice language as a cudgel, especially one that just happens to validate your opinions on a piece of fiction, is disingenuous and harmful in so many ways.

Ships (or kinks, etc) don’t equate to someone’s real-life values.

(Side note: anyone else notice that people who wouldn’t bat an eye at someone writing Age-Appropriate Wolf fanfic, when the characters are highschoolers but played by adults, are quick to condemn people who ship cartoon teens together, even though those teens are literally ink on paper and are absolutely voiced by and drawn like adults? I’m not sure what that’s all about, but it needs to stop. It’s literally just pretend!)

(Other side note: I understand that a lot of people are uncomfortable with shipping real people, even though said shipping has been a part of culture for millennia. My thoughts on that is: literally just act like an adult about it! Don’t tweet them fic or fanart, and don’t show it to them at conventions or whatever. The same thing goes for actors who play fictional characters. Talk show hosts should also maybe stop showing fanart for shock value but that’s a whole other conversation)

If you’ve gotten carried away with fandom-policing or something else, hey, that’s part of being a person. I’ve done it too! What matters is to be a better person. Making mistakes and becoming a better person are part of what it means to exist.

[forestsagess]

If you don’t mind me asking, what do you think makes chrobin work so well?

That’s a thought provoking question.

I’m not even sure I’m properlyconveying my thoughts here. I thought long and hard on it. I lookedat my own notes. I wrote, deleted, and wrote again. So here, aftermuch editing, is a mini-essay of character development ramblings foryou! Read below!

It should be acknowledged that Robinis, in some ways, a form of self-expression for the players. As theavatar, players are free to impress themselves on the plot and fillin the gaps for Robin’s personality. So for each fan, they candevelop their own private reasons why such a relationship formed asit did! Every Chrobin pairing has it’s own unique moments that makeit work in their respective Outrealm.

Since you are asking my personalopinion, I based most of my reasoning off of key elements I saw inthe narrative to point out why these two work so well together. I saythat not just as romantic partners, but as the famous dynamic duothey are. It’s how I built the dynamic of Chrom and Robin for mystory, anyhow. It’s a basis that allows Robins of all genders,personalities, and orientations to maintain such a strong bond withChrom while all being different characters. Because, hey, let’s faceit, the Robin starring in my story is far different from thetactician in the games! Yet, I still needed to convey that bondsomehow.

The game doesn’t have the luxury of afull blown plot like cinematic ones, but there’s plenty to see insupports and the main chapters. From that, I see two key pillars thatmake up the foundation to their success: loyalty and trust.

Robin embodies loyalty. They awaken onthe ground destitute of anything save for their name. No past and nopeople to turn to. Chrom shows up and asks for nothing in return, yetoffers Robin the world. A home, a sense of purpose, and a shoulder torely on. As the story progresses, that never changes. No matter whatrevelations come to light about their past, Robin is never turnedaway. For that, Robin’s loyalty to Chrom remains steadfast and true.No Emperors or Khans can bribe them away. No temptations of powercould sway their interests. Robin was given a gift to pursue a lifehowever they pleased and free of prejudices that may have driven themdown the worst of paths. Chrom saved Robin in more ways than what isobvious, a fact someone as perceptive and intelligent as Robin wouldunderstand, especially in late game. That loyalty is freely given andthe greatest of gifts Robin could offer in return. Because in doingso, it allows Chrom to rely on Robin in a special way.

That way is trust, Chrom’s greatestvirtue in the relationship. He enjoys a bit more freedom for a royalin that he can travel with his war band away from Court. However,he’s always under the critique of his title. There’s a wall thatprevents him from socializing and acting as he’d like. With Robin,there isn’t anything hidden between them. Robin’s loyalty towardChrom means they remain steadfast at his side. Robin will conversewith Chrom with no fear or inhibition. Chrom is not a prince, nor ishe on a pedestal, untouchable thanks to his lineage with Naga. Chromknows that Robin will always speak the truth with him and converse ona level that isn’t with tainted intrigues or appeals. Robin is alwaysgenuine and working to make Chrom’s goals come true. Robin isn’t aretainer, they are comrade-in-arms. They aren’t just his tactician,they’re his confidant. Chrom can let go of his mantle as prince andsimply be himself with Robin. I’m sure there’s no greater relief thanbeing free to act as he desires without the judgment of the Court andpopulace on him.

Players can fill in the events betweenchapters that form the little steps that build such rapport, but thegame provides the right time frame to do so. As a decision maker inthe alliance, Chrom is going to spend a fair amount of his wakinghours with Robin. Some days Robin is probably the first and last facehe sees. The two are going to talk, philosophize, and dream together.More than anyone, aside from his sisters and maybe Frederick, Chromis going to have very private moments with Robin. Ones where each canfreely share the darkest fears or tenderest wishes. There’s anintimacy that builds in those sheltered moments where the horrors oftheir reality fade away to a small world built only around the tentthey inhabit and the individual opposite them. In this time, they areat their most vulnerable. A bond is built that runs deeper than most.Combined with such trust and loyalty towards each other, I think itallows a type of love to form. It’s a selfless, unconditional onethat is universal and separate from others. In this, the foundationfor any type of additional attachments could form.

Romantic attachments would be ano-brainer for Chrom once he realized his own feelings. He has hisperfect partner already. There’s no doubt in his mind that acourtship with Robin would end in anything but marriage. With thepressure of Emmeryn’s loss and the fatigue of war, passion would burnquick and hot. However, because the strongest aspects of trust andloyalty have already been built, the relationship could only prosper,not flounder when the embers cool down.

Annnnyway, that about sums up my mostbasic thoughts on why the pairing is so strong. It’s not just aboutbeing romantically attracted to each other. There’s a whole separatelevel of strength the two draw from.  

(Also, “best friends to lovers” is afavorite trope of mine. I’d say it works just because of that ;)  )

[hansoloschubbybrother]

The Last Jedi

In light of such split opinion among the fan base, here are my (extremely lengthy) thoughts on Star Wars: The Last Jedi.  It obviously contains spoilers, so do not read past the cut if you don’t want to know what happens in the film.

Put simply, I thought The Last Jedi was great.  As always, after watching it for the first time, I came out thinking it was absolutely amazing but after some time to think and in this case, a second watch, I have been able to collect my thoughts about what I both liked and disliked.

The first thing that strikes me is that many of the fans who seem to dislike the film are those who have either enjoyed the expanded universe (now legends) stories or are the type to spend time between movies speculating on character back stories and lineage, etc.  Despite being a massive Star Wars fan, I am neither of those things and I think this has maybe allowed me to enjoy the film more.  I did not go into the film having already enjoyed other versions of the events after ROTJ and I haven’t invested much time getting excited about a specific hope for any character’s story arc.  I have generally been patient and waited to see what Rian Johnson and Disney came up with.

I will go through each of the main characters and give my opinion on their story arc in the film and then go through some other things that I both liked and disliked.

First up is Snoke.  Introducing someone so powerful with the force was bound to bring speculation as to who he is and what his connection is to the characters from the original trilogy.  His minimal screen time in TFA, also suggested he was going to be the new Palpatine and become the big bad guy as the new trilogy developed.  So, killing him off mid-way through TLJ was a big shock, especially to anyone who enjoyed the prospect of what he might become.  I can see why they would be disappointed but, whilst I was shocked that they killed him off, I was actually pleased.  For me, Snoke was Palpatine 2.0.  Initially mysterious, disfigured, powerful with the force, and basically Palpatine without the cloak.  Snoke was a comfortable fit for a Star Wars film.  He is one of the reasons TFA felt so much like a true Star Wars film.  It hit all the right tropes that were needed to make fans feel nostalgic and fall back in love with Star Wars again.  I suspect fans of Snoke were disappointed that Johnson wasn’t happy to let his character play out as everyone expected and have some big face off at the end of episode 9.  This would have been comfortable and felt very Star Wars but killing him off so soon made things uncomfortable and left you uncertain as to who the main bad guy is.  This uncertainty was a plus for me, rather than a disappointment.

The identity of Rey’s parents has been much debated over the last two years.  To have them revealed as nobodies, probably left a big hole for those excited by the idea that she is a Kenobi or a Skywalker, etc.  Again, as with Snoke, I enjoyed the fact that Johnson wasn’t happy to just go with the obvious and choose parents that would make everyone feel warm and fuzzy and make things fall easily into place.  Coming from nothing to be a hero was a key theme of the original trilogy, so making Rey a nobody is still very much in keeping with what Star Wars is about.  I would also add that, when Kylo Ren said this, he had every reason to tell her what he thought she needed to hear in order to make her join him and, therefore, every reason to lie if she is in fact a Skywalker or a Kenobi or whatever.  Johnson spent quite a lot of time on the issue of Rey’s parents when she was on Ahch-To in the hall of mirrors thing and in discussions with Kylo Ren.  I wouldn’t be at all surprised if her real parents become a big reveal in episode 9.  As for the rest of her story arc, I really enjoyed the connection with Kylo Ren and how their uncertainty about the force and about the dark and light sides was a reflection of each other but from opposite sides and gave them a reason to feel close to each other.

This brings me neatly on to Kylo Ren.  Kylo Ren was my favourite character introduced in TFA.  Many people thought he was a poor man’s Darth Vader then and are still saying that he’s no Darth Vader after this film.  I thought it was great when Snoke said that he was no Darth Vader in TLJ.  A nod to the fact that they don’t want him to be just another Darth Vader. I don’t really understand why people seem to want the old characters rehashed just with new names and different outfits.  I liked the fact that Kylo Ren was an unhinged, conflicted brat in TFA.  It would have been easy to switch off the unhinged brat from TFA and make him a straight down the line bad guy in TLJ, but Johnson continued his trend of not wanting to fall into easy Star Wars tropes of good and evil and continued the development of the character.  The fact that he isn’t just able to choose a side easily and be totally comfortable with it is everything that Anakin’s switch to the dark side in ROTS wasn’t.  I hated the fact that Anakin was so easily turned to the dark side in ROTS.  It should have been the main thread of that film but it actually took just a couple of minutes after one conversation with Palpatine.

The one disappointment that I can get on board with, is the non-appearance of the Knights of Ren.  With Kylo Ren having been identified as the Master of the Knights of Ren and with them shown in Rey’s flashes when she picked up Luke’s lightsabre in TFA, you understand that they are a significant part of Kylo Ren’s story.  I was very much looking forward to them being introduced in some way in TLJ.  The fact they there weren’t was disappointing but didn’t impact my enjoyment of the film.  It was interesting that the identity of the other Knights was suggested to be a few of the other trainee Jedi at Luke’s academy.  The fact that this information was included gives me hope that they might still make an appearance in episode 9.

Luke’s story arc in the film seems to have caused the most derision.  Someone who was once a hero across the galaxy but ended up being responsible for the creation of Kylo Ren and subsequently the breakup of his sister’s marriage to his best friend, is bound to have issues.  TFA was built around this premise.  Luke hid himself away out of the shame he felt.  If the appearance of a complete stranger was enough to make him forget all about that and suddenly become the hero of the original trilogy, it would dismiss the story they created for him just to ensure he is exactly the same Luke that everyone loved in the original trilogy.  Having Luke be the man TFA created was by the far the best way to take his character.  Having the man, who once represented everything good about the force and the Jedi Knights, question his faith made for a far more interesting story arc.  I also enjoyed immensely how first Chewbacca, then Leia’s old recording to Obi-wan and finally Yoda were gradually able to bring back the hero from the original trilogy.  I have read people describe Luke as a coward in TLJ.  I don’t see that at all.  I see a damaged man finally return to the man he once was and save the day at the end of the film.  He then joins his Jedi brothers in a moving scene as his tune plays with twin moons setting in the background.  I thought it was a fitting end.  Some people have also said that Luke would never think about killing Ben Solo as he was the man who saw the good in Darth Vader.  I don’t agree with this analysis either.  Realising that a good man is losing control and turning to the dark side is the opposite side of the same coin to seeing the tiniest of light in a bad man. Luke knew what Ben Solo would become if he continued down the path he was on and it would be a perfectly natural reaction to think about killing him for the greater good for a fleeting moment.  The one element that I didn’t enjoy about Luke was some of the comedy they added.  Tossing the lightsabre at the beginning seemed to cheapen a poignant moment and I’m not sure milking the alien cow was necessary but these are possibly the kind of moments that children enjoy.

As for Leia, her story arc was pretty much as expected, although it did provide the worst bit of the film for me.  After being thrown into the vacuum of space and suddenly waking up, using the force to get back to the ship was pretty awful.  In light of her sad passing, it was an opportunity to end her story there. I can see why they didn’t though, as it wouldn’t have been much of a send-off.  I just wish they had left it with Kylo Ren unable to shoot her so that we didn’t have to have that bit.  They have confirmed that they will not use a CGI Leia in episode 9, so it will be interesting to see how they explain her absence in the next film.

On first viewing, I thought Finn’s story was a bit of a waste of time.  I wish they could have found a better, more integral way of getting him, and the enjoyable new characters Rose and DJ, on to Snoke’s ship. I did however, enjoy their story once they were on the ship and especially Finn’s fight with Captain Phasma. On second viewing, one aspect of their story that didn’t really sink in first time round was how it wanted Finn to question if there was a difference what side he was on.  Having defected from the First Order, this was a very important aspect of Finn’s character but his arc in TLJ, whilst obviously ending up on the right side, was better second time around as I was better able to appreciate the whole no side is the right side in a war narrative.

As for the rest of the character’s, Poe was great at the start and the end but was a little meh through the middle and, whilst I’m kind of glad they made Hux a bit of a joke, his character remains as pointless as it was in TFA.

This film introduced several new ways in which the force was used.  Snoke connected Rey and Kylo Ren and Luke was able to project himself from Ahch-To all the way across the galaxy without anyone knowing he wasn’t actually there.  Some viewers bemoan such changes in the way we know how the force can be used but when we were kids and the force went from a choking device to a mind trick to being able to guide your actions without seeing, etc we never cared that there wasn’t some additional explanation as to how they can actually do that when they couldn’t before.  We just accepted it and it laid the foundation for what we believe a Jedi/Sith can do now. With these things, I think we just have to go with the flow and let our inner child accept it rather than our adult mind demand an explanation.

As for the overall story, it was a little odd that the First Order decided to wait for the Resistance fleet to run out of fuel rather than just call on more of their huge fleet of ships to help obliterate them but these are the kind of things you have to look past to enjoy any movie like this.  Just like BB-8 driving the AT-ST.  A little unfeasible but kids probably loved that bit.  I particularly liked how the story left the Resistance in such a dire situation.  Throughout the other Star Wars films, despite the Empire/First Order supposedly being this huge super power, the Rebels/Resistance never feel like their existence is truly threatened.  Not so much anymore.  The end shot of a just a handful of rebels left to carry the fight gave a real David and Goliath feel.  It means that the starting point of episode 9 is a slightly different one to any of the other films.

In summary, despite a few niggling issues with the story of some of the characters and some of the comedy feeling a little forced (no pun intended), I thoroughly enjoyed The Last Jedi, especially for the way it was prepared to break with what would feel comfortable or obvious.  By choosing not to fall into easy Star Wars character tropes and throw away some of the groundwork laid by a very nostalgic The Force Awakens, I felt Rian Johnson created the Star Wars film that was needed to ensure the new trilogy actually adds something different to the series.

[beyond-far-horizons]

My thoughts on Last Jedi, the backlash and its relation to the archetypal storytelling of the Star Wars Saga.

I have been trying to gather my thoughts on this film, the reaction and the Sequels in general. My overall reaction, after two viewings, some reflection and looking at both sides, is the same as it was when I first saw it - mixed. But given how much the series means to me and others I think analysing our reactions is important.

Spoilers for Star Wars including TFA and TLJ and the film Labyrinth. This is my opinion - repeat just my opinion and won’t be tagged because I don’t want to get into a fan war or debate. Aggressive attempts to do so will just be blocked so play nice ;) Warning for a long-ass post.

Let’s start with what I liked -

It was fun overall. 

The opening fight with Poe was amazing, fast, funny and emotional.

More Poe was a good thing (mostly) and his dynamic with Leia was great - I loved that they had a headstrong male pilot with Leia as his mentor. I also liked the fan observation that Leia puts up with some of his antics because he’s like the son she should/could have had (no disrespect to Ben/Kylo.) Oscar Issac even notes the maternal relationship and that is super cute. 

Leia - nice to see her more front and centre - a general, a stateswoman, a force-user (yes), a mother, a sister and still looking fabulous. Carrie will be missed so much. I grieve for her, her family and for the story we could have gotten in Ep 9.

That moment between Leia and Kylo - sad face.

Rey, Kylo/Ben and Reylo - very happy they went in this direction. I can understand certain people’s/groups misgivings about this when projecting a RL dynamic on it, however the large section of us that enjoy this dynamic, I believe, do so on an archetypal level - which is primarily what Star Wars is about. The fairy tale, the myth - the Light and Darkness battling it out to transcend the opposites in the end. I loved their connection (even though the cuts were quite modern), I always adore it when the hero/heroine and villain start off hating each other, are opposed to each other and then gradually find parallels and similarities, and since ESB, Star Wars has always been fantastic in finding that Yin Yang and Jungian Shadow concept. The way they show the dangers of the path - that Rey could make the same mistakes as Ben and therefore why she wants to save him, just as Luke did with Anakin. It’s so human. The acting was fantastic, the moments soft and then intense - I loved the ‘Force skypes’ and the Throne Room scene. Indeed that application of the Force was just an extension of Luke and Vader in ESB and in a deleted scene in Jedi too. Also as sad and heartbreaking as it was I’m so glad Rey did reject him and didn’t give into his bullshit. I can sympathise with him but she didn’t compromise herself and that is so important. Like in the film Labyrinth at the end, Rey chooses her own sovereignty and morality despite temptation and it was the right thing to do. Also I feel (without getting too RL and social justice on this) women are often seen as the always loving, forgiving redeemers, the healers, the saviours and the nurturers - a powerful archetype that can sometimes be in play but also can be terribly damaging when constantly applied. No person can forever hold the weight of an archetype and in some cases shouldn’t, no matter how sad it is. Rey did her best but Ben ultimately needs to save himself, to make that choice as Vader did and that can be a hard pill to swallow especially when we see he hasn’t got the critical mass (yet) within himself to do it. 

Rey - in two minds given how TLJ treated plot points from TFA - but I continue to love her spirit and vulnerability as well as her moments of humour. 

The Throne Room confrontation was fricking epic! I loved it and I loved seeing the Battle Couple/Back to Back Badasses/Dark and Light take on the guards.

Rose - not so keen on the plotline but the character was adorable and we need more like her. It was also special for me because for years when I was training to be an actress in London, the friend who let me live with her for minimal rent had a Far East background and looked like Rose and always struggled to get decent parts despite her talent and tenacity. Seeing the hope and inspiration Rose gave to her in her career recently was amazing. 

The planets!!! Ahch-To and Crait just blew me away - oceans and islands - check, crystals, deserts and rock formations - check. Glorious!

Those crystal foxes!

I will always be a Reylo fan but Finn and Rey still have a special place in my heart and that hug at the end was gorgeous. If they get together at the end it’s okay with me as long as I can have some Reylo resolution too. 

Rey and Poe finally meeting. Okay I’m Reylo, I like Finn and Rey…but I always liked the idea of Rey and Poe too - yes I can have my cake and eat it thank you. 

The Supremacy - I may consider joining the Dark Side if I can have that ship!

The Codebreaker - there’s always a place in Star Wars for crafty grey characters and I liked DJ, not 100% keen on where they went with it but I liked him.

Holdo’s sacrifice - amazing  - those shots and that silence - just epic.

The initial idea of Luke as a hermit and the Balance which they sort of went with and then…hmm we’ll talk about that next!

Things I didn’t like or thought could have been handled in another way - 

This is interesting and has taught me a lot about how we project ourselves onto stories and what we do or do not get or expect to get out of a story. As we know this film has caused huge dissension and rather than throw crap at people - I respect they have their opinions - I want to analyst mine and other’s responses and find out why. I’ll note my personal reactions and then the issues that may have contributed to such a division.

Luke’s arc - I can see the de-constructivist allure of having Luke fail and why some people have taken heart from that message but as Mark Hamill has said it just isn’t Luke to me. As for him trying, even in a moment, to kill his nephew and best friend’s son after he was willing to sacrifice himself and everything else for his ideals to show his father - Darth freaking Vader -  a better way, also doesn’t ring true. Then to abandon the Republic/Rebellion for the First Order to take over - nah…If they want me to buy it, they need to give me more than what we got.

Admiral Holdo - ugh. I see what they were trying to do but if you have to withhold plans and make a character hold the Idiot Ball for you to do a plot twist it just doesn’t work. Also the whole feminist message was patronising and I say this as a woman and lifelong feminist. Treating men like idiots isn’t going to make them respect you. Also as others have pointed out, Leia was already a trope-breaking example of this done in a much better way in ANH. People were making the point that Holdo was soft and feminine and that’s why Poe and the menfolk in RL didn’t like her or feel she could have been in the military. I’m all for surprising people and frankly she can wear what she wants even though it was incredibly impractical but as an actress I noticed in her physicality she does not convince as someone of any gender who has been in a military force let alone in command. It does something to the way you stand and behave that she didn’t have and putting examples like her in only undermines the progressive course to me. 

Godspeed? God fricking speed?! We are in a Galaxy far far away! It’s the Force you idiot! Also ugh her and Leia just sounded like they were at a socialites party in the US not Star Wars when they say goodbye. I’m so up for female bonds and unexpected characters and roles but it was handled badly in my opinion - an example of shock value, not well thought out world-building. 

Snoke - WTF? Don’t build him up just to kill him off early! He is the reason all the shit in the Galaxy has happened - the return of the Dark Side, the corruption of Ben Solo, Luke’s Hobo arc - how does he link to the OT or even the Prequels (it’s a saga remember - a family saga, themes etc). To kill him now, without those answers, undermines the whole plot and undermines Kylo Ben as a result. Snoke was the reason he did all those heinous things, Leia says in the book he has been essentially grooming her son since he was in the womb (gross!). The OT draws out the Emperor until ROTJ and the Prequels spend 3 movies giving us insights on his dynamic with Anakin that primes us to understand (despite poor execution at times IMO) Anakin’s fall to the Dark side. We have none of this for Kylo bar a few hints. This lends weight to the accusation he is a pathetic, whiney (angry, privileged, white) boy who turned to the Dark Side cos Mummy and Daddy (our OT heroes) didn’t love him enough. Then we are given a vague flashback that Luke Skywalker of all people wanted to kill him for an instant and yeah…it doesn’t do anyone - Kylo, Snoke, Leia, Han or Luke - a service. Plus the ridiculousness of Kylo and Hux at the end undermines the finale and the hopes for Episode 9. I admit Snoke freaked me the f out - the undertones of the child molester/evil guru were strong and might have been a bit too much for kids but hell a good writer could have found a way to develop it properly without being too full on. 

Canto Bight - Finn and Rose. It was…okay…but again I could see the message loud and clear and there’s a difference between an archetypal mythic theme and hitting someone on the head with identity politics. Also I loved Finn and Poe’s dynamic and Finn and Rey’s dynamic in TFA - I wanted more of that. The plot arc just didn’t interest me or feel woven into the main plot as much as I wanted it to. And that sucks because Finn and Rose were cool and it was groundbreaking for Star Wars to include them in their own arc. Due to the lacklustre scenario I felt Finn wasn’t utilised enough. I felt he was slightly short changed by TFA and TLJ didn’t really shift that for me.

The Crait Plan - why not tell people the plan? To have it suddenly appear like a Deus Ex machina was shoddy esp when the First Order find out immediately anyway.

Leia’s Superman impression. It was a shocker and beautifully filmed. Extra poignant when remembering Carrie’s loss but…it’s not Star Wars! There’s a difference in developing the world-building and the magic system (I know this as a writer) and crapping all over it to introduce something ‘cool’. I have wanted Leia to use the Force since ROTJ. I would have totally been down with her using it here (like Nynaeve in The Wheel of Time) when she finally surrenders to this mystical power she doesn’t understand (and likely associates in her heart with Vader) in the face of her political and military might being crushed. It had the potential to be such a beautiful moment. She could have been in a pod or something and then dragged the exploding pieces back together - that would have been in line with previous Force users - Yoda, Dooku, Vader. But to be exploded into space where the vacuum alone could kill you, lack of air, cold etc etc and then fly like Superman just felt so wrong. Yes you need to suspend your disbelief to watch SF/F but the created world needs internal consistency (look up Tolkien’s On Fairy Tales or Mark Wolfe - Building Imaginary Worlds: The Theory and History of Subcreation or the Laws of Sanderson for confirmation on this.)

Luke’s Force Projection and Death - it was beautiful and shocking (again) but (again) didn’t ring true with Star Wars for me even with the call-backs to the Binary Sunset and Obi-Wan’s cloak. Those just made me sadder. If they wanted to make it more Star Wars, more full circle, then why doesn’t he do a proper Obi Wan - face Kylo and become one with the Force in their duel? Also I just felt there was so much more for him to do, so much more to be shown and frankly as much as I love the Sequel characters, I and most of us are here because of the OT characters. This is and always was Luke’s story. We care about Anakin initially because of his connection to Luke even if he wasn’t really in the Prequels, so to have him go out that way and have so little relevance ultimately to the story of the Sequels just felt wrong. I’m not ready for this to be fully Rey’s story yet as much as I like her and what she brings to it. 

There was no real training arc - Luke didn’t even finish his third lesson to Rey. I would have loved to have seen Luke and Rey training and duelling. This also highlighting the unfortunately implication that Rey is a little bit of a Mary Sue and I hate that. The Force just made her awesome - again not consistent with Star Wars. Anakin and Luke, even after training, get their asses handed to them by Dark sider users. Yes Kylo had handicaps and Snoke does well to highlight them in TLJ but it would have been much better to either have had her train under Luke before and had her memory wiped or be trained now to account for her aptitude. It undermines her positive points as a character and it is irritating now to look back at TFA and see her so good at everything just..because…

A main point many people have pointed out - TLJ doesn’t respect the plot points and setups of TFA. This is worse than not respecting the previous trilogies because it’s bad storytelling and each episode is supposed to reinforce the arc of the others. Sure Lucas made similar mistakes but Abrams, Johnson and Disney had years of reflection and fan reaction to draw upon to make sure that didn’t happen and mostly in the OT Lucas made it work to a point they do make senseas whole. Why aren’t Disney and co making these stories to fit each other? They are a trilogy - a beginning, middle and end, not an opportunity for each director to ‘make their mark’ on Star Wars or ‘bring something different’. That’s like hiring a new director for each LOTR film! Again people can cite upending expectations but this was throwing out substance for the sake of shock value and that never works. The Vader plot-twist worked because it deepened the story, the plot-twists that Snoke and Rey’s force sensitivity and parentage don’t matter cheapened it. For the record I liked her parents being nobodies but we don’t get to see her explore that and JJ drops numerous Chekhov’s Guns about Rey’s background in TFA - Han, Leia and Kylo’s reactions to her, Maz’s talk, her visions, Luke’s reaction - that all now looks stupid. Kylo lets an officer go after his tantrum then force grabs him as soon as he mentions a girl. This and his latter interactions with Rey, esp in the novel, make him look like a desperate virgin that has never been exposed to a human female before. 

Phasma - where art thou?

I could go on but those are the main points.

Now to the deeper issues -

Most of us loved the Original Trilogy and while we want to repeat the magic  - to have the same but different - that story was essential told. It has a poignant, satisfying ending - Luke redeems Vader, the Empire is defeated, the Jedi are reborn, Leia and Han get together. It reached a natural conclusion and that conclusion gave it its power. That is a lesson that many of us and especially the entertainment industry don’t want to learn, hence why they milk franchises and stories until they mean nothing. Just as death gives life meaning so does the ending to a good story. However I have always been intrigued by a Sequel trilogy because it was something Lucas toyed with for a long time. I heard rumours of Leia and Han’s children in a forest scene for years and that was so magical! What happened next?! Lucas was notorious for tinkering with his creations and then saying he planned it that way all along (read Star Wars - A Secret History for confirmation and also an amazing insight into the creative development.) As an aside I think that part of the creative process is that it evolves and it interests me how many directions and stories could be told branching from A New Hope, ESB, Jedi and then even TFA. The stories that different groups wanted to be told and the story we got. However something that lent more weight to the Sequel idea was also Lucas’s inspiration of Flash Gordon, Buck Rodgers and those old sci-fi serials that suggested the story could have gone on for episodes before you arrived in the cinema and continued long after, so I was interested to see if they could make it happen. Perhaps it would have been better done years earlier so the original leads could have had a more active role or set in the future so their legacy would have held longer but this is a family saga so…

Despite their love for Star Wars and its superficial appeal I’m not sure JJ Abrams, Rian Johnson and Disney understand the core of Star Wars and the archetypal themes underpinning it. This is the absolute core of the issues with Sequels (the Prequels) for me - I think it could have worked despite everything else but you need to understand the archetypal motif which is textbook Star Wars. A fantastic book that illustrates this is Star Wars - The Magic of Myth. I think they got bits of it but they didn’t really understand the whole and had other agendas in play that meant the worthwhile messages in Leia/Poe/Holdo, Finn/Rose and Luke/Rey’s storylines were lost, dissonant or just sledge-hammered in without respecting the characters, plot or themes. I was so looking forward to seeing a development in the mythos of the Light/Dark sides of the Force and the Balance - how acknowledging anger, abandonment and desire for power and control aka the Shadow, can help you understand yourself and the human experience but not(like Kylo did) by giving into it. This understanding grants you Balance and Transcendence - a true expression of the Jungian Individuation process and the Taoism way that Star Wars was inspired by. This could have been accomplished even with Luke going off to be a hermit which is counter to his character as Mark Hamill stressed. If you want a new story you need to set up conflict and this would have been a great conflict for a more mature Luke to have - that the Dark Side will always return in some way, so how does one counter it? When we found out in TFA he had gone looking for the first Jedi Temple, then we got the 1st trailer and the hints about the Balance of Light and Dark, I was excited. Luke hadn’t abandoned his sister and friends and the Galaxy! He had a painful setback but was still searching for something more. When they dismissed that in the movie and had him be this despondent bum who had vanished just to find some hole to die in, I was so disappointed. Yeah you could have it (as they did) as part of his character arc, to learn failure, to repeat the cycles/mistakes of his masters and be reminded of his younger self in Rey, but as others have pointed out Yoda and Obi Wan went into exile because they needed to and Luke transcended them at the end of Jedi anyway. So it needs a deeper reason for me than what we got.

The Backlash/Conflict and the questions it raises.

It seems broadly to come into two camps, but there are also many people in the middle across a number of different issues. The main camps boil down to either loving the OT - its themes, characters and relationships within the Skywalker Saga and feeling the Sequels haven’t respected that, and the other is enjoying the new direction of the Sequels and feeling Star Wars is now more modern, more progressive, more inclusive, either as a worthy development of the OT or without caring about previous instalments.

This, as I said at the start, comes down to stories - our stories, internally and in the outside world, and the archetypal stories we cling to across generations. Star Wars was always going to matter because it is one of a kind - a modern myth that called to us on this archetypal level as well as being so pervasive in the physical world through advertising, merchandise and different media that it has literally become a religion to some people and inspired many more.

Given that, the stories I’m hearing from the media and the progressive side is that the Last Jedi is fantastic because it’s breaking boundaries, it’s passing the torch, it’s giving us feminism, inclusivity and life lesson moments that are much needed in the current climate. And in a way stories do need to change and adapt to stay meaningful or, as we see, people change them to fit - create fanfiction, art, create their own worlds, write meta taking the pieces that make sense to them. Many people feel more included in the Star Wars saga and as such a powerful phenomenon I’m glad about that.

However to others, Star Wars already deeply meant something to them and some feel the Sequels, in their urge to move things along or having done so brashly, haven’t respected that legacy. Although there are undoubtedly racist, prejudiced idiots out there using Star Wars as part of their ideology, this goes against everything Star Wars and Lucas was trying to convey. So personally I think a lot of the deeper backlash is because of the Sequels ignoring the archetypal hero journey and themes at the heart of Star Wars - a journey first brought to us by Luke and his companions. Star Wars is not the type of story that lends itself to deconstruction, shock value twists and hopelessness - it’s a hopeful fairy story, that while filled with peril and battles with evil, nevertheless gives us the strength to face the dark symbolically and find the best in ourselves. While it has had its storytelling and world-building issues (especially with the Prequels hence the backlash with them at the time) it does have its own mythos and internal consistency, something I feel the Sequels have ignored time and again,and even undermining the setups in TFA. To call people ‘losers’ stuck on simple nostalgia or ‘man babies’ (as a friend of mine did) for having these objections is unfair. Archetypal stories/myths come from the Collective Unconscious and that moves very slowly in relation to society which is why we read stories from thousands of years ago and they still resonate. That doesn’t mean you have to copy the Hero’s Journey from the OT point for point - there are a galaxy of myths out there and our own minds for exploring how the legacy of the OT can be respected and yet developed, as well as including more women and POC as it needed to.

I will still watch Episode 9 and take the things I liked from it, TFA and TLJ, but to me the OT will always be the true Star Wars. However nothing is in vain and honestly I think this debate can be used by anyone to learn from the power of stories - what works and what doesn’t for them and go on to create their own original narratives as Lucas did all those years ago…I’m also really interested in getting the perspectives of kids seeing the Sequels vs the Prequels and OT as these will be ‘their’ Star Wars and the things we see and love as children always have special significance as they are the first to charge our awakening imaginations.

[himbowelsh]

Since you share my big love for Blanche Nixon, would you like to write something about Winnix interacting with Blanche or just Nix and Blanche? Modern or canon, whichever you like more. I would love to read something about her and what kind of brother would Nix be.

AN: okay i’m really sorry and i didn’t intend for this to get as angsty as it did, but one of my favorite tropes to explore in post-canon winnix is how nix’s home life puts distance between the two of them. also blanche is my baby, and i really wanted to explore both sides of her, so i hope this satisfies your blanche craving!

Someone is waiting for them when they get off the train.There is a woman standing on the platform, cutting a striking figure amidst the bustle of working class women and worn down parents. The short sleeves of a fitted silk dress, legs clothed in flawless stockings. Her skirt hugs her waist, billowing out around her knees like a crimson cloud. Dark hair falls nearly to her shoulders in a loose wave, rounding out in curls at the ends. Her face is almost a mirror-image of the man standing next to Dick, with a few small discrepancies that manage to set her apart. Her forehead is broader, her skin a touch paler, her cheeks rogued and lips painted a bright red. She has the same eyes though – dark, sharp, and intelligent. She is striking at first glance; at second, she could easily be called beautiful.

It’s clear exactly who she’s looking for. As the train screeches to a halt, her rapt gaze is locked on their compartment; more specifically, on Nix’s face.

“I take it that’s not your driver,” Dick comments. He glances over at Nix, and finds himself taken aback. There is a new light in his friend’s eyes, one that Dick hasn’t seen for a long time. The spark of recognition – relief, like returning home after a long journey – is an ember kindled anew. Dick hadn’t been certain he’d ever see Nix look this way again. Now, standing in the middle of the train compartment and gazing out the window, he sees years melt from his friend’s face in an instant. He looks boyish, more energized than he has since they first jumped into war. That expression makes Dick’s heart soar.

“Not my driver,” Nix replies, a smile already on his lips. “Someone even better, believe it or not.”

He follows Nix off the train, trailing two steps behind. The woman’s entire posture is tense as they step onto the platform, like a bird ready to take flight. Nix heads straight for her, spreading his arms wide, and she goes loose like a puppet whose strings have been cut.

“Well, look who it is!” Nix exclaims. A peal of laughter escapes the woman as she rushes forwards, burying herself in his arms. He spins her around. Her heeled feet leaving the ground for just a moment before she is set back down, breathless and grinning. The unbridled smile on her pretty face is a perfect echo of Nix’s own.

“What, you thought I’d hang you out to dry?” Her voice is smooth, but the edge of laughter to her tone makes her words pop like bubblegum. “You said you were coming in, someone had to meet you here. I figured you’d rather it be me than Marcel.”

The woman brandishes a set of keys, face glowing with pride. Nix takes a step back, surveying her.

"Surprised you’re still around here. I could have sworn you’d be settled in Hollywood by now. Don’t tell me – they sent you back. No use for a knockoff Joan Crawford, huh?”The woman aims a punch that connects soundly with Nix’s shoulder. He doesn’t flinch; Dick does it for them.

“As if Mama and Papa Nixon would really let their baby girl run off to join the movie business. Just for that, I’m not driving you home.”

“I’m terrified of you driving me anywhere.” Despite his words, fondness still curls Nix’s lips, and his hand finds the her shoulder almost as if by instinct. When he turns to Dick, the woman’s attention moves with him. “Dick, allow me to introduce my one and only sister. Blanche, this is Richard Winters.”

“The one you spoke to Dad about,” Blanche says. It isn’t a question. Her eyes scan Dick for one long moment, taking in every detail about him in a single second. A beat later, the full force of her smile is trained on him.

(Dick knows that smile. It’s the same one that Nix, when putting his best effort into being affable and mostly sober, employs to great effect. It doesn’t lose any of its magnetic charm on her sharper features.)

“So you’re Dick, then,” she says, seizing his hand almost before he can offer it. “It’s nice to meet you! Lewis spoke a lot about you when he called. It’s great to finally meet the myth in person.”

“I hope he didn’t talk me up that much.” Dick feels inexplicably flustered beneath Blanche’s attention. He’s never had a way with women, never manipulated Nix’s charm or Talbert’s ease. He also cringes under the light of praise.

“Nothing that isn’t true,” Nix replies. Dick’s eyes flicker up to him, and the look on his friend’s face does wonders to soothe his nerves. He trusts Nix; they share the same disdain for excessive praise, especially when it’s unearned. Nix would never inflate his reputation to his family just to give Dick a good name.

“Relax,” Blanche drawls, still smiling as she releases Dick’s hand. “You’ll be welcome here. The both of you. You’ve still got to meet Stan, of course, and he’ll be the real one you want to impress. I’m just the welcoming committee.”

“And the chauffeur,” Nix adds, nodding to the keys still gripped between her fingers. She throws a wink over her shoulder at him.

“The most exciting chauffeur in the country. Not to mention the best looking!”

Blanche is a step up from the drivers of their military jeeps, that’s for sure. As she turns and begins to make her way off the platform, Dick doesn’t hesitate to follow in her footsteps. He only pauses once it dawns on him that Nix isn’t right behind him.

He looks back at his friend, eyebrows raised in question, only to find Nix still standing on the platform. He wears an odd look now, not like the relief from earlier. This is more melancholy, a sort of shock that stands out all the more on Nix’s usually intelligent face. It’s not often that he’ll admit to being thrown off guard, but this is clearly one of those moments.

“Nix?” Dick asks. The question doesn’t jar his friend from his trance. Rather, Nix shakes his head, taking a step forward, his eyes still fixed on a point over Dick’s shoulder.

“She’s grown up,” Nix mutters, like he’s puzzled and impressed at the same time. “I guess she really has grown up.”

The realization that the Nixon siblings aren’t all that different after all comes over Dick like a rolling tide – slowly, then all at once.

The entire family is cut out of the same cloth. He recognizes that the moment he sees them together. Nix, for all his professed disdain for his father, is an echo of him in so many ways. They bear the same physique, the same mercurial temperament, right down to the wicked gleam in their eyes and love of the bottle. Lewis is truly Stanhope Nixon’s son.

Blanche is made of the same stuff, just as worn, just as quick to tear. She keeps the frays at her edges well-hidden, but she shares more with Lewis and her father besides their dark coloring. She loves the bite of alcohol just as much. She can be flippant, callous, venomous when pushed to it. There is a streak of wild, uncontrollable emotion in her too, one that Dick has never sensed in Nix, but that he can certainly see in their father.

Blanche is every inch the Nixon daughter. She’s simply more attuned to softening her blunt edges, covering up her sharper ones. She is clever, she is charming, she banters and brags. When all is said and done, she drinks. A true Nixon, through and through.

Dick doesn’t know how he’s wound up here, alone in a drawing room, opposite a very drunk Blanche sprawled out on the divan. If he’d had his way, he would have left this party long before everyone else. Nix had insisted he stick around, however, and now Dick has no clue where he’s gone. In his home territory, Nix can either move like a ghost or a king; he is masterful at both. He often vanishes, leaving Dick alone and with no idea how to find him.

“You look like a little lost puppy,” Blanche pipes up suddenly. When Dick startles, she laughs.

Dick knows he should reply, but can’t think of what to say. Blanche turns on her side, narrow glass balanced between her fingers, and narrows her eyes as she studies him. The purse of her lips make him uncomfortable. She doesn’t say anything, but he feels as if his thoughts are loud enough for the whole house to hear.

“You don’t know why you’re here, do you?” she finally says.

Her words give Dick pause. He’d be lying if he said it wasn’t a question he’s asked himself on occasion. In the handful of months since he took the job at Nixon Nitration, it has become blatantly obvious that he does not fit in with their cavalier, hard-partying lifestyle.

He reminds himself that he’s here for the job, but that’s not really true. He could just as easily have gone back to Lancaster and found work there. If he’s here for any one reason, it’s for the man who brought him here in the first place.

Somehow he’s sure that Blanche already knows this, so he allows himself the honesty. “I’m here for Lewis.”

Blanche’s lips turn up – a sad, joyless echo of a smile that Dick has seen too many times on her brother’s face. She exhales a sigh from deep in her chest. Her hair falls over the arm of the wine-colored divan in a raven cascade. “I haven’t wanted to be an actress since I was eighteen.”

For a second, her words make little sense. Then Dick remembers the day at the train station, hears Nix’s words in her mind, and understands. Once again, he finds himself at a loss for words. “I’m sure he didn’t know,” he manages after a moment.

“That’s the point. He didn’t know. It’s been three years since he enlisted, and in that time, he never wrote. Not one letter. No a birthday card, no holiday well-wishes. Nothing.” Blanche’s laugh crackles through the air like static. She takes another sip from her glass. “He visited Kathy a few times. He had a kid with her. In all that time, he could just be bothered to respond to her letters. But he never wrote me.”

Dick folds his hands in his lap and frowns down at them. He feels like a child being lectured by a disappointed parent, even though Blanche’s demeanor couldn’t be farther from that. There is a guilt that weighs on his own shoulders. He remembers Nix scoffing on his bunk at Toccoa, tossing aside letters from family unread. He avoided the topic of the ones he left behind as much as he could. Any letter he wrote in reply was like a labor to him, one he tried to shirk as much as possible.

Dick was always writing – to his sister, his parents, friends, his host family in England. He can count on one hand the letters he saw Nix pen.

Should he have asked more questions? Should he have encouraged Nix to keep in better contact those three years?

Blanche’s face makes it clear that she doesn’t blame him. She just looks sad – and bitter, a bit, not that Dick can blame him. She takes another drink, and her gaze drops to the glass. “He runs from things, you know. Because he’s afraid – because he’s a coward. Because he doesn’t want to face them. Because he’s smarter than all of us. Who knows? He runs and he never stops running, but it’s all the same. In the end, it’s all the same old racetrack, going round and round without an end. We’re just going in circles.”

Dick opens his mouth, unsure of what to say, but closes it again when he suddenly finds her looking at him. Her gaze is sharp and sober, like a pistol trained at his chest.

“If you have to run,” she says, “run. This isn’t your place. Don’t force yourself to be anything for him. It’s not worth it, believe me.”

“I - I won’t –” Dick stammers. His mind flashes through countless parties he’s sat in on just because Nix asked him to, and he can’t help wondering if that’s just what he’s been doing.

Blanche sighs. “This world is small. It spins around, and around, and there’s no getting off for either of us. Don’t trap yourself here if you can help it.”

They don’t say anything more after that. Dick is captured by her thoughts; Blanche is captured by her drink. Nix does not return to the room, but Dick stays and waits until he hears Blanche’s empty glass thud against the carpeted floor. When he looks up, her head is bowed towards her chest. She is asleep.

She is petite, so that makes carrying her to her room easily. Dick lays her on her bed and fails to shake her awake. In the end, he removes her shoes and tucks her in before slipping out of the Nixon mansion, unseen and unnoticed.

The gilded carousel that is life in Nixon, New Jersey swirls through his mind throughout the dark drive home. He cannot unhear Blanche’s words. He cannot escape the itch in his own skin, which has risen to prominence in his consciousness after too long being ignored.

Early that morning, Nix stumbles into bed reeking of liquor, and Dick hears his sister’s warning echo in his head.