#felt like a fun thing to do

[thevulpinehero1]

GWatch -- Mobile Suit Gundam 0079 Ep 1

Since Armoured Core came out and everyone's in a mecha mood, I figured I would talk about an entirely different mecha series instead. The plan is to watch one episode a day, talk about it, and include one (or more) screenshots to facilitate enhanced rambling. I want to start with the original series since I've watched it before, see if I can get through it all, and then maybe move onto some other Gundams if I have the spirit.

Beware! Spoilers for a 40 year old anime inbound, as well as possible misreporting since I probably am not going to fact check too well. Gundam nerds may feel free to correct me and dispense wisdom where appropriate. Also, I'm just going to go with whatever name spelling is on the subtitles I have at the time. Sorry, not sorry.

The first thing I have to talk about is the theme song, which honestly gives me emotions. Nowadays, we all have this image of Gundam as basically the show that invented the real robot subgenre, but you would absolutely never get that impression from the theme song or OP. Honestly, go find it and listen to it -- it's actually amazing how widely it misses the tone of the series, with lyrics like "Bring to bear the rage of justice!" and "If you are still burning with furious rage, you must fight the towering foe!" It sounds much, much more like a Super Robot theme song for like Daitarn 3 or Raideen or something, than something you would see associated with a classic "war is hell" series like Gundam.

And this was probably completely intentional. I remember hearing that even as far back as its initial run, the series had to fight the sponsors/toymakers in order to carve out its own identity, and part of that was projecting a surface level impression of a more palatable Super Robot style show. (Some things never change, I guess...)

To me, it adds a lot to the charm, because the singer is obviously going in and doing their best, singing an ode to a giant metal hero of justice who doesn't really exist outside of the fertile imagination of an advertising/toy exec who has been thoroughly mislead. I love that. I just want to go and tell them, hey, I appreciate you, you are singing your heart out on this theme song for an entirely different and imaginary series than the one they've actually made, and you're killing it. You are fighting the good fight, and you may be one of the reasons the series even got off the ground in the first place because you were part of this obfuscation.

This is Amuro Ray. His shadow looms large over every Gundam protagonist that will follow him; many of them either use him as a blueprint for their personality, or are meant as a study in contrast to it. He kills a lot of people. He eats a lot of sandwiches. There are long and intricate scenes of Amuro eating sandwiches, and they are among my favourite scenes in the whole series, and, in fact, any Gundam show I've ever watched. I'm not kidding.

I picked this screenshot not just because it shows a stone-cold, unrepentant sandwich-murderer in his natural habitat, but because it also showcases another thing I love about the show: the goofy animation. This was not a show with a huge budget. There is something weird or goofy happening in every episode, almost every scene, and the first episode -- traditionally one of the best funded in most series -- is no exception. Amuro eats like a turtle. Hayato's hand is an amorphous, misshapen blob. I think it honestly adds to the charm; the series is scuffed, and probably knows it's scuffed, but it's doing its best to tell a story in spite of that.

For now, Amuro is not the pilot of legend. He sits around the house doing science in his underwear, his neighbours don't like him enough to tell him about an actual military evacuation that he's supposed to be undertaking, and without the aid of his childhood friend Fraw Bow (who he mostly summarily ignores), he wouldn't bother to evacuate at all and would likely die at home. He's a scrunkly kind of dude. Maybe even a scrunklemeister. Your boy probably smells like a scratch and sniff card if you rubbed off all the panels and tried snorting them all at once.

The show is surprisingly quick at characterising him, too. Within a minute or two, we know all the above, plus that he seems to have a certain amount of tension with his father, who his neighbours blame for bringing the military to their peaceful colony. His father, Tem Ray, loves him at least enough to put a picture of him on his desk, and makes vaguely prophetic statements about how kids as young as Amuro are already joining the war as guerrilla fighters. Foreshadowing hit different in the eighties.

One scene I didn't actually remember, but really should have in retrospect, is the part where Amuro confronts his father ("Do you care more about Mobile Suits than humans?" is the absolute first thing Amuro says to him), and the death of Fraw Bow's mother and grandfather, both of which expose a more sensitive core to the scrunklebeast within. It's very convenient/poetic (delete as appropriate) that Fraw Bow was herself very nearly caught in the explosion that killed the crowd her family was in, and only survived because she separated from them in order to check on Amuro.

I was also kinda surprised to relearn that Amuro doesn't really 'fall in' to the cockpit; he very deliberately gets in, having happened to read the manual earlier, in an effort to either protect the remaining civilians or take revenge for the ones who've just fallen (the context doesn't really make it clear which one, but he rushes to the cockpit soon after Fraw Bow sees her family die and is making her escape).

One thing that's really interesting in the metacontext of the series is that although Amuro ends up being one of the best pilots (he's a legend in mecha anime for a reason), he kinda starts out as one of the worst. Many Gundam protags are either experienced, have some level of training, or have other reasons why they're hot shit right out of the box; Amuro really does not know what he's doing, and is carried entirely by the fact that the Gundam itself is dizzyingly durable for the time period. It also comes with a learning computer (which I bet sounded very advanced in the time the anime was made, but kinda brings certain chatbots to mind in the present day) to ease the piloting burden while he learns how to use the dang thing. Not only that, but he goes up against a lot of mobbers who aren't that much better than he is and can't do much against his much better machine.

(A really interesting experiment is to contrast Kira from SeeD, which follows a lot of the original Gundam's major story beats quite closely for the first part of the series and is almost a spiritual remake in some parts. Kira almost has the opposite end of the equation going on -- a very good pilot from day one, he has the misfortune of having five other named dudes who are close to his level and have machines that are arguably better than his in a vacuum, and he fights them pretty regularly.)

Anyway, through more luck than skill, Amuro manages to get through his first Mobile Suit battle in Side 7, but Bright is already looking to utilise him as labour, and Char is advancing on the colony. That's the first episode, more tomorrow. (I don't intend these to be exhaustive or talk about every little, but I wanted to go a bit more in depth for the first ep, and I don't want to restrict myself from veering off on tangents because those are fun.)

[bigfatbreak]

Birds of a Feather previous / next

[lurking-loaf]

It's essential to teach them color theory when they're young so they understand how to mix colors. How else will you get art that's good enough for the fridge?

Day 6 of DCA Promptober - hues plus bonus animation of Sun imitating the Mac's wait cursor aka the Spinning Beach Ball of Doom

[secretsimpleness]

Sometimes I want to bring Morrigan but then I remember I play as a face-tanking rogue and I bring Wynne. Warden Cousland, Morrigan, Wynne / Dragon Age Origins (c) Bioware

[detectiveposting]

my stages of watching columbo

1: hahah hes just a silly detective ;)

2: columbo is actually a cunning manipulative liar that hides his true persona behind the facade of a slow and clumsy middle class detective

3: hahah hes just a silly detective ;)

[angelcake10023]

Empty Promises… 💔

The fact that Wukong tries to go in for the kill on LBD does not fly well with MK in this au….

[teethkid67]

maintenance for the newly exiled

[deanmarywinchester]

i like this substack article I found while googling jamie loftus’s book on hotdogs. it’s like a poem on the subject of “you can do whatever you want forever” to me

[dandelion-roots]

[ID: a digital drawing of riz gukgak from fantasy high. in the front is a relatively small drawing of riz juggling books that are falling out of his hand and a phonecall, and he has a huge backpack on. he looks a bit overwhelmed, hair flying in all directions, and has a nervous smile on. in the background is a large shadow of riz, only one glowing eye and a shining gun visible. the background is red, giving an eerie feel. End ID]

Kill your best friend

Cheat your way to your rogue teacher

Announce your presidential campaign

Don't let them know how angry you are

LEARN TO RECOGNIZE A MONSTER

[juckalope]

repress and control♦️

[deoidesign]

when your main characters start dating after years of writing so they finally get to be like this

[starry-bi-sky]

Stuck in the middle of a forest made of

Flesh and bones and they're all scared of

A lost little boy who has lost his heart

Fear's not enough, they have to

Tear him apart —-------

There are two things Daniel Fenton knows that his family knows as well: 

He’s adopted.

He can’t remember anything else before that.  

‘Adoption’ is a loose term, implying that they went through the official legal processes and troubles of adopting a child into their home willingly, and with the full intention of doing so going into it. That is not what happened. What happened is that Jasmine Fenton found a half-dead child, in strange clothing, in the middle of the woods at her Aunt Alicia’s cabin, and then she went and got her parents. 

What happened is that a twelve year old Danny woke up in the same cabin, wearing clothes much too big on him that didn’t belong to him, and with very little memory of before that moment. He wakes up like a spring being set loose, sitting up so fast he scares the daylights out of Jasmine Fenton sitting next to him. He wakes up, reaching for his sleeve for something that isn’t there, and when it isn’t his mind stutters, like he’s tripped at the top of a steep hill. 

When they ask him for his name, he tells them, clearing muddled thoughts from his mind; Danny. He’s twelve.

(He thinks that’s his name, at least. It sounds right; it feels right. If he thinks really hard about it, he thinks he can remember someone calling him that, utter adoration in their voice. So it must be his name.) 

The Jasmine girl convinces her parents to take him home with them, and they give him the spare guest room upstairs. He has nothing to fill it with.

It’s… a strange experience, to go to a ‘new’ home when he doesn’t even remember his old one. 

The official adoption process… happens. He can’t say it’s easy, or difficult. He’s oblivious for the most of it, Jasmine intends on helping him settle in and Danny can’t say he enjoys the smothering. He learns that he is stubbornly self-independent, that’s one new thing he knows about himself. 

His adoption papers say ‘Daniel J. Fenton’. Danny remembers staring at the name ‘Daniel’ for a long, long moment, something curdling sour in his sternum. His name is Danny, that he knows. But it’s not Daniel. But he doesn’t know any other way of saying it, so he keeps his complaints to himself.

(Jack Fenton boisterously claps his hand on Danny’s shoulder and jerks him around, grinning wide as he welcomes him into the Fenton Family. Danny’s mind blanches at the touch on his shoulder, an instinct snapping like the maw of a snake, telling him to cut off the man’s fingers for daring to touch him.) 

(He keeps the thought to himself, tension rising up his shoulders the longer Jack Fenton’s heavy hand stays on him.) 

They found Danny in the summer. It’s a perfect coincidence, Maddie Fenton says before she goes back into her lab with Jack Fenton. She says it’s enough time to allow Danny to adjust; that they’ll enroll him into the school year in the fall. Then she stuffs a canister of ectoplasm onto the top shelf, and disappears like the ghosts she studies back down the stairs.  

(There’s something eerily familiar about the ectoplasm sitting in the fridge, something unsettlingly so. Danny knows what that stuff is, but he doesn’t know where. When the house is empty, he takes a can from the fridge and inspects it.)

Jazz wants him to leave the house. Danny doesn’t want to step foot outside of the FentonWorks building until he has something that quells the feeling of vulnerability he gets whenever he does. He tried to once, and he felt exposed. Unsafe. 

He turned back around and went inside.

—-------

Where do we go

When the river's running slow

Where do we run

When the cats kill one by one

—------

One day, when the house is empty — or, as empty as it can be; the Fenton parents down in the lab, and jazz out with friends. Danny is making a sandwich, and he caves into the urge to flip the knife in his hands between his fingers. A childish impulse, but one he falls for nonetheless. It comes to him easily, like second nature, in fact. The slip of the blade between his fingers is seamless, flowing with an ease like water running down the wall.  

He’s almost startled by it; his body holds memories that his mind does not. Muscles that know which way to move and twist, limbs that know how to hold and how to throw. He continues twirling it, fascinated, as if he were a scientist discovering a new species of animal. 

It’s not for a handful of minutes when a new thought hits him; an impulsive thought that pops in the back of his mind like a firecracker; Danny moves without thinking. 

He turns, and throws the knife. The pull of his shoulder, the flick of his elbow, is familiar like a hug. He knows when to let go, and the blade flies through the air in impressive speed, embedding itself into the wall with a hearty, loud thunk. Sinking into the drywall like butter. 

Danny stares at it in shock, he feels relieved — about what? — before he feels the guilt. He scrambles across the kitchen to pull it out, heart racing in his chest at being caught, and prays no one notices the hole it left behind. 

(He runs up the stairs before anyone can find him, food forgotten, and hides the knife beneath his mattress like a guilty murder weapon.)

After that, he leaves the house more. It’s more out of fear of being caught than the desire to leave. But Danny is quickly learning that among all things, he is someone who was dangerous, before he lost his memory. Even with his mind in fractures, he is still dangerous. 

He’s not sure how to feel about that — he thinks he should be scared. He feels a little proud, instead.

—------

Hazel beneath our claws

While we wait for cerulean to cry

Unsettled ticks run through time

Enough for the hunt to go awry

—-----

There’s another thing he learns about himself. That he knows about since he woke up. He knows that he left someone behind. He doesn’t know who, but he knows they must have been close; he’s always looking down and finding himself surprised when the only shadow he sees is his own. 

He thinks that he must have sung to them a lot; he finds himself humming familiar melodies when he’s lost in thought. Lullabies lingering at the tip of his tongue, an instinct to turn and sing them to someone beside him. He can’t remember the lyrics, but his mouth does, it tries to get him to say them when he’s not thinking. He can’t. 

Danny’s found himself humming under his breath more times than he can count, trying to recall whatever it is his mind is trying to claw forward. 

(“That’s a pretty song, Danny.” Jazz tells him at breakfast one day, Danny screws his mouth shut. He hadn’t realized he was humming. “What is it?”) 

(Something mean and possessive rears its head on instinct, uncoiling like a snake from its ball. His shoulders hunch defensively, he bites his cheek to prevent himself from baring his teeth. He doesn’t know what song it is, but it’s not for her. “I don’t know.”)  

He misses his person. Dearly. He knows, the longer he is without them, that they must have been close. Otherwise, he wouldn’t feel like he’s missing a chunk from himself. He wouldn’t be turning to someone who's not there; reaching for a hand that’s missing, birdsong on his tongue, a story to tell. 

A dream haunts him one night. Warm and familiar, he’s holding onto someone smaller than him, they’re tucked into his side like a puzzle piece. He’s humming one of his songs that is always playing in the back of his mind, an unfinished tale of a harpy and a hare. Danny can’t remember their face, not all of it. He remembers green eyes, hair dark like his own, skin brown like his. 

He loves them more than anything else in the world, a fact he knows down to his soul. He loves them so much it fills his heart with sunlight. Danny squeezes them tight, nuzzling into their hair; he makes them laugh. Then, he proudly boasts something. That when he takes something of their father’s, that his person — a sibling? That feels right — will be… the word fades from Danny’s mind before he can make sense of it. 

His person hugs him tight, his… brother? And their mother — a woman whose face he can’t remember either, but who he loves like a limb nonetheless — appears, smiling. Her hands reach for them both, voice calling them, ‘her sons’. There’s ticking in the distance, it sounds like the fastening of chains.

Danny wakes up cold, tears streaming down his face. The details of the dream already fading from his mind like the cold pull of a corpse.   

—-------

Harpy hare

Where have you buried all your children?

Tell me so I say

—-------

When school starts that Fall, Danny joins the sixth grade class, and quickly learns more things about himself. One of those things being that he’s smarter than the rest of his grade, whatever education he had before, it was better than the one he’s getting now. 

Everyone knows he’s adopted right off the bat. He tells them when the teacher forces himself to introduce himself, but it’s not like they needed him to tell them for them to know; he never existed in their little world before now, and the Fentons are pale as they come. Danny is not.

He befriends Sam Manson and Tucker Foley; they ask him about the scars fading up and down his arms, they ask him about the scar carved diagonal across his face.

Danny, as politely as he can, tells them he doesn’t remember. He thought kindness would come second nature to him, his dream burned into his mind where he hugged his brother so sweetly. Apparently, his sweetness is only second nature to people he considers his own. 

(It becomes even more apparent when Dash Baxter tries to bully him later that day, and Danny ruffles like an eagle threatened. His mind whispers, hissy and agitated, sinking like a shadow at his shoulder, several different ways Danny could kill him for talking to him like that, and fifteen more ways he could cripple him.)

(Danny ignores those thoughts, up until Dash Baxter tries to grab him. Then he breaks his nose on the wood of his desk. It’s easy how quickly the rest of his grade sinks him down to the status of social pariah.)

(At least Sam and Tucker still talk to him after that. When Danny goes to the principal’s office later, he wisely doesn’t mention the worse things he could’ve done than break Dash Baxter’s nose.)  

—--------------

It clicks and it clatters in corners and borders

And they will never

Hear me here listen to croons and a calling

I'll tell them all the

Story, the sun, and the swallow, her sorrow

Singing me the tale of the Harpy and the Hare

—-------

More dreams come, of course they do. Each one halfway to forgotten whenever he wakes up, ticking faint in his ears. He is many different ages. He is young, shorter than a table. He is older, holding onto his little brother. He is singing in almost every single one. He is singing to his brother. 

Danny can barely remember the lyrics, he’s begun leaving a journal by his bedside so that it’s the first thing he can write down when he wakes up. He’s a storyteller, he learns. He feels like a historian, trying to piece together a culture long dead and forgotten. 

His most vivid dream-like memory is not a happy one, and for once he’s almost relieved he barely recalls it. He is somewhere that isn’t home, but his mother and brother are there. He is dressed in black, blades keen in his hands. 

They are atop a moving train. They are fleeing something. His brother is struggling to keep up, he is small, and young. It’s beautifully sunny, they are somewhere green and lovely. 

It is a fast dream. 

His brother stumbles on something, and Danny, fast as a whip, snatches him by the back of his shirt and hoists him up to his feet before he can fall. “Watch your feet, habibi.” He murmurs low, a hand on his back. It’s hard to hear, there is wind in their ears.

His brother, face obscured in all but his eyes, which are green as emeralds, nods. 

The dream blurs, but Danny falls behind. His foot catches on air — impossible, it should’ve been, at least. He never trips. — and he lands against the roof with a thud and a grunt. His mother and brother stop, and turn for him. 

The train hits a turn before Danny can get up, and he shouldn’t have, something pulls on him, he swears, but he slips. He can’t find the purchase to pull himself up, cold fear hits him as his nails scrape against the metal. 

His mother and brother’s horrified faces are the last thing he sees before he disappears off the side of the train. 

(The ticking is at its loudest when he wakes up, pounding against his inner skull. He only manages to write down ‘train fall’ in his journal, before he’s flipping over to press his head into his pillow to get the pain to stop.) 

—---  

She can't keep them all safe

They will die and be afraid

Mother, tell me so I say

(Mother, tell me so I say)

—-------

When Danny is fourteen he is still humming songs he can’t remember, his mind still in a broken puzzle. But his room is now decorated with stars and plants in every corner. He has a guitar he keeps in the corner of his room, and he plays the lullabies in his head on the strings over and over again. 

The ectoplasm in the fridge still unsettles him, still reminds him of a past he can’t recall. The knife beneath his mattress has returned to the kitchen — he doesn’t need it. He found a box in the attic last year, it had his name on it, and inside he found familiar, strange clothes, and more weapons than he thought was possible to carry on one person. 

(Even without knowing that the Fentons prefer guns to blades, Danny knows, instinctively, that they were his weapons. He was — was? Is — a dangerous person. He takes the box down to his room to sort through. The weapons all fit into his callused hands almost perfectly — the grooves worn to fit his palm. They’re just a little small.) 

(He tentatively takes a small blade with him to school one day, and feels much more comfortable with it sheathed beneath his shirt. He’s kept it on him ever since, like he’s reunited a lost limb to himself.)   

Danny doesn’t have a name for his person, his little brother, nor does he have a name for his beloved mother. He’s haunted by dreams every few weeks, many of them repeating. He’s ingrained the words he can remember to memory, and the ones he doesn’t, he writes down in his journal. His little brother; Danny calls him a bird, he can’t figure out what kind. His little bird of some kind; when Danny takes something from their father — what, he can’t remember what — then his little brother will be a little bird. 

(He doesn’t have a name for his brother, yet, but he’s calling his birdie in his head. It’s better than nothing.)

—------

Seeker, do you ever come to wonder

If what you're looking for is within where you hold

Will you leave a trail for them to follow a path

You'll soon forget

Home

—---------

When he’s fourteen, Danny dies. It does nothing to fix his fractured memories, much to his consternation. It just confirms something he already knows; that he was someone dangerous, and that he still is. 

When the shock of death has worn off, Danny inspects his ghost in the metal reflection of the closest table. It’s blurry, hard to see, but shock green eyes pierce back at him, green like the portal. Lazarus, Danny’s mind whispers, and he blinks rapidly.

‘Lazarus,’ he mouths to himself. It’s familiar. Sam shows him with her phone what he looks like, joking that he looks like an assassin. Danny doesn’t think she’s that too far off. 

He doesn’t tell her that. He tucks the thought away with the rest of his secrets, and fiddles with the hood gathering at his neck, attached to a cape with torn edges swinging down to his ankles. He pulls it over his shock white hair. It shadows over his face impossibly so, until all you can see are his green-green eyes peering out like a wolf hiding in the brush.

He ends up calling himself Phantom. 

(Maybe now he can start putting lyrics to his lullabies; his memories may not have returned, locked away with the sound of a clock, but the dead can talk. One of them may just have answers.) 

----------

Home is where we are

Home is where you are

Home is where I am

-----------------

Dedicated to @gascansposts for being the one who introduced me to the band Yaelokre, and thus being the whole reason I was inspired to write this in the first place >:] Those lyrics at the line breaks are all from their album Hayfields.

[llumimoon]

Been playing a pokemon moon soul link nuzlocke with @silverbreeze424 and of course as the seal guy I had to pick the sea lion/seal starter r you kidding ?? Anyways loved this doodle page of Delphy sooo much I decided to color and post it <3

[inumbrapugnabimus-maybe]

I’d imagine he took the time off to increase in knowledge and learning or smth

More art of his vacation under the cut hehe

The only reason that bird isn’t flying away from him is. Um. His unfailing charm?

(thank you for the ask anon! :D)

[posi-pan]

for anyone who has ever seen someone claim pansexual was coined on social media by teenagers in the early 2000s, the 2010s, and even in the past few years, and believed it or wondered if it’s true, or known it’s not true and been annoyed by the misinformation, this article is for you!

after listing out all of the claims i’ve seen, i succinctly debunk them by laying out a brief overview of pansexual’s history dating back to the 1960s, both as a term generally indicating universal appeal/inclusion and a term indicating sexual freedom/attraction to all genders. i include a look at pansexual’s use specifically within queer spaces, with a focus on bisexual spaces, as well.

i also touch briefly on omnisexual and polysexual existing in similar contexts to pansexual dating back to the 1960s. and finally, i discuss a little bit about how when, where, and by whom a label is created doesn’t determine the validity or usefulness of it, because these claims come with the implication that new labels, labels created by kids, and labels originating on social media aren’t legit forms of queer expression and identification.

happy pan week! 🥰💗💛💙

[classic-blue]

Nature of the Arcane- Positive and Negative Energy

(For reference, Arcane = the series; arcane = the magic) Come help me figure out how the heck the magic system of Arcane works.

What is the anomaly? Why was it born? Why is it that other mages in the series don't seem to cause anomalies, but Hextech does?

I refuse to be content with a magic=good or magic=bad explanation, and Arcane loves to play with nuance. I was trying to sort out my thoughts on why some magic has bad side effects while others don't, and this is where I'm sitting now. My (spit-balled, half-baked, and probably leaking) thesis:

The arcane/using magic has 2 separate outputs: the order you placed (Hextech) and the resulting exhaust (wild runes; the anomaly). Hextech can use runes to control magic, but there's a second output of natural, wild magical energy, that Hextech doesn't account for. Both of these energies can build up, and when they're reunited, they have explosive reactions (see: Mage Viktor's world, the final blip that takes Jayce and Viktor, and possibly various smaller explosions throughout the series).

For example, when positive and negative charges meet, lightning strikes.

Justification below the cut.

Science break! Ever been shocked by static electricity? That's because of a buildup of one charge, say positive, on you, and a buildup of negative charge on another object. Nature loves balance, so when you two touch, the charges discharge in a shock that connects the positive and negative charges and allows them to balance out. Size this idea up big enough, and you get lightning- powerful, fast, and destructive.

More importantly though, you can't just charge positive energy, without also charging negative energy at the same time-  creating one by necessity creates the other, so that there's an overall balance of electricity types (hey look, a metaphor, creating one inevitably leads to the other…).

Let's carry this idea over to the arcane. What if there's a 'positive' magic and a 'negative' magic output?

(Note, I use the electricity words here intentionally- positive/negative do not mean in a cosmic/moral/ethical way, but in a scientific, 'hey we need 2 connected words to separate these concepts' sort of way.)

Positive: Hextech; runes; the intended output. Teleportation, levitation, everything we see it accomplish.

Negative: the wild rune, the anomaly; the unintended output.

And, when the two come together, lightning strikes.

Lightning 1- Viktor vs Ekko's Z-drive. Viktor spends S2 becoming a centralized conduit of 'positive' magic, via the Hexcore and top ups from the crystals under the Hexgates. As the Machine Herald, the claw is continually using runes and doing magic behind him. In short, he's been building up a lot of positive magical energy. When Ekko chucks the Z-drive at him, it's powered by an anomaly, or 'negative' magical energy. Put the two forces together, and let the fireworks happen; a part of the Machine Herald's mask gets struck off in the blast. (But the Z-drive has less negative energy than Viktor's positive, so it doesn't totally wipe him out.)

Lightning 2- Viktor and Jayce's rainbow time. Jayce's acceleration rune might be the negative magical energy in this case (since it travels with him via Mage Viktor's anomaly), paired with the anomaly that Viktor grabbed beneath the Hexgate. That works in opposition to Viktor's compiled positive magical energy via the Hexcore and similar products. With these together, the balance between positive and negative is reached, achieving net neutral magic dispersion, and of course, an implosion that sucks in (or teleports, we can be happy) Jayce and Viktor, ending the conflict.

Perhaps in Mage Viktor's timeline, a similar explosion occurs, resulting in the destruction that we see Jayce traverse in the alternate timeline. But in the main timeline, Jayce and Viktor were able to contain that explosive potential to just themselves, via Jayce's acceleration rune.

"Pass me a tome" Jayce's (quoting Viktor) explanation of the anomaly/wild rune (S2:E3)

Jayce says that Viktor theorized that wild runes are "patterns that would occur naturally where the border between our world and the Arcane is thin." By the theory, wild runes are expressions of magic not quantifiable by traditional runes- natural outputs of magic that are uncontrollable and untamable.

This still works with my positive vs negative theory- it's just that Hextech, and by extension the boys, are only viewing it from the perspective of positive energy (they accessed magic, but really only half of it). From that view, negative charge, which they can't interpret why it's building up or that it even is, might look pretty wild and untamable- however, we see mages control this negative magical energy. Mage Viktor uses the anomaly to send Jayce back to his timeline. The Machine Herald is able to transport it and start to destroy/convert the world.

Because it's still a useable product, so long as you understand what it actually is, I'm not fully content to say that the anomaly is an entirely wild thing, or an unpredictable force. It's possible that Mage Viktor intentionally manipulated it to send Jayce, Ekko, and Heimerdinger to their temporary alternate universes to set in motion events to save the main timeline. I think the anomaly definitely has somewhat volatile characteristics, a bit more chaotic perhaps, but it's still controllable.

(Additionally, Ekko breaks time using both hex shards (assuming they're still in the Z-drive, I'm not sure off the top of my head), and a tiny anomaly. The fact that he's able to control it to a degree also shows that the anomaly is not fully wild and untamable.)

I suppose my overarching feeling is that the anomaly is not necessarily better or worse, or more dangerous, than the 'positive' magic of Hextech- it's just a different, inevitable byproduct of magic use.

Then why don't mages cause anomalies and 'lightning strikes'?

Simple- they know how to account for both positive and negative energy in their spellwork. They know how to equate a balance, so nothing blows up in their faces.

Granted, the only mages we really see in Arcane are Mel, the Black Rose, and Mage Viktor, and the only real discussions we get about magic is from either the Hextech nerds or Heimerdinger, who may not be working with the full picture of how the arcane works. Our sources with regards to actual mage work in Arcane are pretty thin (and I probably need to rewatch Mel's S2 scenes).

But the Black Rose mentions as Mel leaves that (paraphrased) 'it's a dangerous world out there for a solitary mage.' This seems to imply that mages work best in collaboration- perhaps that allows for a balance between positive and negative energies, preventing 'lightning strikes.'

The real point- The Need for Collaboration

While the obvious theme to be drawn from this is the need for balance, another interesting one is the need for collaboration. If mages in Arcane indeed do work together to prevent destructive magical fallout, this again points back to a core element of Arcane's relationships:

Things (magic in particular) work best in collaboration.

That's how the boys crack Hextech

That's how Jinx and Vi start to bring Vander back and reconcile

That's how Viktor and Sky work in the commune

That's how Ekko, Powder, and Heimerdinger crack Hextech again

That's how Caitlyn and Ambessa start to work, and how the lack of honest collaboration exposes Ambessa's selfish gains and weakens Caitlyn emotionally and politically

That's how Mel literally does everything politically (and why her arc narratively suffers when she's on her own against the Black Rose for so long [I still love her tho])

That's how Piltover and Zaun fend off Ambessa's assault

That's how Viktor and Jayce end it- together.

More assorted thoughts on this topic:

This theory somewhat requires that the arcane is not conscious, not retaliating for Hextech using magic improperly, which is debatable. The Black Rose says "the arcane is waking up," which could imply a sentient force, or simply a natural force like how the world 'wakes up' to spring after winter. Ekko also claims that Jayce 'pissed off' the arcane, which Jayce is cutely embarrassed about, which is a possibility, but not one that I'm getting into here- it's entirely possible that Ekko is also wrong! Jayce and Viktor frequently are! (also, the hexcore being sentient does not necessarily mean that the arcane is sentient- Viktor describes it as a learning matrix, so it could very much be a Flubber situation. He done taught the rubix cube science before ethics.)

As Viktor brings Jayce up to the top of the Hexgate, Viktor winds the anomaly in his staff and talks about the balance between order and chaos- maybe positive magic is one and negative the other?

@avelera and @linddzz were throwing around some awesome thoughts similar to this strain, including how it looks like Mage Viktor 'cleans up' the smoke output of the spell in the snowstorm. Their theory is that what I call positive and negative energy is actually constructive vs destructive force in equal output from the Arcane, and that balance between those two types is needed (i.e. if you want magic to do what you want, you also need to let it blow up some stuff) which would also explain what I've called lightning here. Definitely worth a read!

There are so many holes in this theory, but I still wanted to organize my thoughts about the anomaly, Hextech, and how Arcane tells the audience to view magic. In S1, Hextech is all good and great, possibly dangerous, but in S2, Hextech and its byproducts are all infectious, destructive, and never productive. I found the switch a little jarring, and went searching for a deeper meaning.

Also… does this mean that Arcane is actually a big metaphor for the dangers and impacts of technological advancement on natural society and how Mother Nature will come back to bite us all in the butt? Has Arcane been a secret Ghibli film all along???