#for foreshadowing purposes

[attackmybutt]

My durge (Syl) social experience so far

Shadowheart: "I thought you were going to kiss me." (Syl: ... I was?) She likes Shadowheart and vibes with her, memory loss pals, oh and darkness inside pals too! She's a friend! Syl's feeling a bit confused.

Gale: Did not get along well with him initially. Fell in love with the idea of cutting his hand off and doing... erotic things to his necrotic hand... did not appreciate the way he judged her after Alfira's death, at leasts he confessed her sins and her own confusion. When Gale's strange eating habits surfaced and the truth behind it, she was all "aha! we are on the same boat! how dare you judge me!". She's still not over that, but is feeling more amicable.

Astarion: He had a knife to my neck, awesome, now he's got his teeth on my neck. Sure, I'll feed him, keeps him strong, we both like bathing in the blood of the enemy. Huh? He wants to what with me? We barely know each other, but... curious. She does not remember ever doing such a thing ever, or had she? Does she have any type of romantic or sexual experience? She's giving it a go, at least he was explicit about what he wanted, or was he? Syl is very, very confused.

Wyll: Sweet, naive man, very heroic and sickeningly sweet. Too sweet for her liking. Deserves good things, Syl should probably stay away so she doesn't hurt him like she did to Alfira. He hunts monsters, is she one? Syl has been known to sleep by Wyll's tent on occasion, and someone has even joked that Wyll has acquired himself a feral cat (Syl) Ah yes, in a sordid way she does view herself as his cat?

Karlach: Oh~ hot lady, wanna touch, curious, so curious. She's very strong and deadly and badass and Syl reeeeealllly loves watching Karlach decimate the enemy. If Syl had a tail, it would wag happily every time with each kill. She's sweet too like Wyll but more ferocious.

La'zel: Badass green lady, full of gith honor. She's not very sociable, but Syl doesn't mind. Loves watching La'zel battle, how she bathes in the enemy's blood, and her bloody words make Syl purr. She wants to get closer to her but she's so guarded. What makes her tick? Syl does not mind dying by her hands, it would be.... beautiful? Her own death? Syl doesn't want to become a mind flyer.

Withers: Weird talking bone.

Butler Fel: Who the fuck are you and what do you know about me? If you are my supposedly butler, why won't you help me?!

The Grove: Helping for rewards, sympathize with the need to survive at all costs.

Goblins: I really want the dwarf meat... might consider actually raiding the grove for the dwarf meat.... no, no... good thoughts Syl! Gotta try to keep those urges away... gotta.... dwarf leg....

Ethel: Never trust an old kind lady again... what if they are a hag... again?!

Raphael: Uh... not making any deals with random demons that appear out of nowhere. I saw what happened to Wyll.

Dream Visitor: Uhhh... who the fuck are you and why are you familiar?

[cupcakecupid12]

Something that really bothers me about Pokemon Scarlet and Violet is that the professor being ai is technically foreshadowed throughout the game using their animation (if you look, any time they aren’t talking they are completely still, which in 3D animation looks unnatural), but because the game is so buggy, I put that aside as lazy animation and not foreshadowing.

[dantevhell]

GUYS GUYS GUYS HEAR ME OUT PLEASE

[shepscapades]

YOU.

UMMMMMM

[ask-whitepearl-and-steven]

Is there any reason why your white diamond design dont have a mouth? Like a symbolic or lore reason, or did you just found it cool to not do it?

[fairyrona]

hop's cabin+byler

You know how there are some little things that say BYLER ENDGAME so loudly, that if by some miracle it doesn't happen, you'll be getting on a bus to atlanta to ask some questions?

I have one of those. Like these shots:

Board games? The sun rays and the motherfucking upside down couch?

Second shot just looks like it's missing something. Why?

(Let's establish real quick that I am acknowledging all the layers of this scene sequence - but in this post I'm pointing out byler endgame.)

I don't wanna come off like those milkvans arguing that Mike associates the Byers' house with El. This is not about the characters associating places with other characters. It's not about the places at all, because I think those shots could have been filmed anywhere and they would still do their thing.

Because we've got the s4 shot now. I hope you get what I mean but-

We saw how empty that space was when the move happened - how sad and abandoned it was. But the light never left, it was still there, even when the space was vacant. And now it's alive again, it's back to being whole.

They're both home.

And it's just so amazing to me, how we have this shot of Max -

...foreshadowing her part in s4.

Bacause it just proves us that this particular visual element suggests foreshadowing. We now know they belong in that space but we couldn't see them, they were out. Interestingly, nobody was in. Of course, meta-wise it would not make sense for Mike to sit there alone - or maybe, actually it would make so much sense - since this was his girlfriend's house.

But.

Honestly, with the second part of that assemblage being Mike and Will's yet another heart to heart, it would be too obvious for Mike to be in the s3 shot.

In the end it doesn't even matter if he's there or not. Because his absence is louder.

Let's assume that Mike's association with the Byers' house is ambiguous. Him biking to the empty cabin, where they've spent so much time together would be an absolutely perfect way to establish that he was longingly staring after El, and not Will.

But he is not there. From the writing point of view, either way it would be byler proof (when in combination with s4 shot):

A theoretical, Mike is in the s3 shot:

S3 ends and we all know for sure that byler is bones and milkvan is endgame. And then, it turns out to be straightbait, because it's Will who joins him in the second part of the sequence, and not El as people would be expecting.

The cabin is empty, canon:

I can't stress enough, how clever it would be to have Mike in that shot. To show that the other person is gone, and he's been left behind, alone.

That's not the case. He didn't have a reason to go there. His person never reminded him of the cabin.

In a way we have a three part sequence. The whole California trip being in the middle.

Why is Mike not moping after El in the cabin? He's gone after his person. The person? Well, we've all seen who Mike spends the most time in season 4. They were out together, on a journey, quite literally too.

And now it's a season later, the same place, but now complete - foreshadowing s5. As if that light was waiting for them to arrive and bask in it.

(Not to mention the "new" dynamic immediately coming to life on the hill.)

it's crazy.

(they are insane.)

[daddyplasmius]

reread edited what currently exists of my DP Wolfwalkers AU fic. here are all my favourite lines in no particular order & lacking context

[smile-files]

just out of curiosity: for friends and followers with schizophrenia, psychosis, or any other mental disorder causing delusions/hallucinations, how do you feel about suitcase ii being a representation of that?

ii doesn't have the best track record for mental disorder representation as it is (cough cough paper cough cough bomb cough cough cabby), so i have reason to be skeptical about suitcase... from my perspective, as someone without any such disorder, the handling of her mental disorder is unnuanced but well-intentioned at best, and a tacky, cliched attempt to create drama at worst. but i'd like to hear what other people think! thank you!

[bestworstcase]

Anything from Volumes 1-3 that is setup that you don't think is given enough attention or respect for good setup?

Sidenote to this:

Open seat with no person in it + Salem having someone looking for the Choice Relic was hinting at Summer Rose. Did we have anything hinting at her pre Beacon's Fall or just things that she fits given additional context?

regarding summer specifically, while i wouldn’t call them hints per se, there are a handful of beats in v1-3 that smell like foreshadowing to me:

the first is “she was right about you; such arrogance.” – cinder might well be referring to salem here, of course. however. what strikes me about this remark is that arrogance is not a characteristic that salem seems to perceive in ozma; rather she describes him, in her soliloquies and songs, as a self-destructive, deceitful, manipulative fool blinded and trapped by his faith in the old gods. cowardly. fallen from grace. think of what she says to oz in 8.9—look how you’ve diminished, how you’ve lessened yourself—she sees him groveling at the feet of tyrannical monsters and sees debasement.

does it follow for salem to characterize ozpin to cinder as, primarily, arrogant? i’m not convinced it does. but summer rose? well… hm. consider, also, that the full line is “this whole time, right beneath our feet… she was right about you; such arrogance…” <- i think it is more likely than not that “she” is someone inside the brackets of “our,” and in context “our” is either [cinder + ozpin] or [cinder + her associates physically present at beacon].

in the event that “she” is not part of “our” the more naturalistic phrasing is “beneath our feet… salem was right about you” – because “she” otherwise has no antecedent. of course, some allowance here for this to be a narrative choice not to name salem yet, but we’re one (1) episode off from revealing her face and by this point we’ve known for a while that cinder works for someone else, so the choice to drop the name here or in the volume credits is of fairly trivial importance. unless of course cinder isn’t talking about salem.

second: “Oh! We've also stopped some bad guys, too! I guess it's like they say: "like mother, like daughter"! I still wonder why Ozpin let me into the school early…” [laugh track] – obv this part of ruby’s address to summer’s memorial headstone foreshadows ozpin’s conspiracy and team strq’s involvement therein. but it also foreshadows this exchange:

RUBY: We don’t have to kill you to stop you, and we will stop you. SALEM: Your mother said those words to me… she was wrong, too.

and i think it bears pointing out that ruby is wrong here, and later in the volume qrow specifically calls attention to this and lays out why she’s wrong. team rwby didn’t stop the bad guys; they cut off one avenue of attack and cinder circled around from a new direction that took advantage of torchwick’s imprisonment, and this also resulted in the public break between ozpin and ironwood which eroded the cohesion of the inner circle. ergo, ruby thinks she stopped the bad guys but in the long run the consequences of the breach all benefited salem.

looks into the camera like im on the office.

like mother, like daughter!!!

further, that sequence of events ultimately leads to the final confrontation between her and torchwick – wherein he declares “if you can’t beat them, join ’em,” and shortly gets eaten by a grimm right after making it clear that he intends to kill her. torchwick’s death is thematically motivated – a narrative rejection of his cynical every-man-for-himself, dog-eats-dog outlook – but consider that:

summer rose, if she is indeed salem’s willing agent, is certainly at beacon tonight – because she’d be the one who stayed behind to hold the fort.

summer is thus the one salem instructs to “reinforce our numbers at beacon,” meaning the grimm; that instruction only makes sense if the person receiving it can communicate with or command grimm. ergo, summer must have some degree of control over grimm.

ruby is disarmed and on the ground getting beaten by a man who fully intends to kill her, and a grimm swoops down out of nowhere to eliminate him faster than he can blinks. and then… the grimm rears up, roaring at her, and comes down with a sweep of its wings that creates a blast of air that pushes her away. that isn’t aggression!! that’s a defensive threat display!! (the feilong in v4 does the exact same thing – trying to push the boat away). it’s ruby who charges the gryphon, and while it lunges forward in reaction to her charge, all that happens is she gets her feet on its head and pushes off to leap over it, and the grimm goes fucking flying so hard it crashes into the ship’s interior and never emerges. the point being,

math.

it’s plausible that the grimm was drawn to torchwick’s murderous rage. but the way it behaves immediately after it swallows him – that very clear “get away from me please” body language, and ruby -apparently- kicking a grimm the size of a goddamned clydesdale dozens of feet and then through the hull of a literal warship? ruby is strong, but she’s not… that strong. but if the grimm didn’t want to engage her and propelled itself under and past her at the same time as she vaulted off its head? that would explain what happens perfectly – ruby’s kick altered its launch trajectory just enough that it crashed.

minutes later, someone loyal to salem scraped a very badly injured cinder off the top of beacon tower and left ruby alive where qrow would find her. salem’s vested interest in keeping ruby alive is VISIBLE throughout the battle for beacon, and notably include a perfect opportunity to capture her while she’s in a coma atop beacon tower that isn’t taken – suggesting that salem makes her singular attempt to capture ruby solely to reassure cinder that Something is being Done.

and if summer rose has command over grimm and was at beacon that night… the gryphon’s behavior is exactly what i’d expect if all the grimm had marching orders to insure this one girl in particular – the spitting image of their commander – doesn’t come to serious harm. there’s a nonzero chance that gryphon did in fact save ruby On Purpose!

…and that happens in the context of a fight between ruby and the bad guy she thought she stopped (but she was wrong), who joined salem because “if you can’t beat em, join em.” (salem voice) she was wrong, too…

also

<- like mother like daughter. summer had a nevermore’s eye view of the battle for beacon, in this essay i will –

third: this one is something i didn’t really Think About until v9 and specifically the v9 ost dropping, but some of the things cinder says in v2-3 strike me as like – she got that from summer im sure of it. for example, in midnight, cinder’s view of huntsmen is that they’re free, they have power, they can go anywhere and do whatever they want, and rhodes never contradicts this. where did she get “huntsmen and huntresses should conduct themselves with honor and mercy”? who taught her the aspirational moral ideal?

summer rose, maybe.

but in the deeper sense,

where did cinder get the ‘destiny’ conceit? her underlying beliefs about how the world is are a product of her childhood, but the overt framing of fate/destiny isn’t present in midnight; nor has salem ever spoken of destiny and her philosophical views are in many ways a rejection of destiny – salem does not believe in fate, she is the woman who dedicated her life to toppling the gods.

and on close examination this looks like yet another suspiciously summer rose shaped hole!! “you’re special, ruby […] special the way your mom was special […] it was said that those born with silver eyes were destined to lead the life of a warrior.” – in after the fall, ozpin gives coco an entire pep talk whose central conceit is embracing and submitting to the turns of fate – sacrifice “show them gods and deities/blind and keep the people on their knees” & guide my way “you were born to hypnotize them all/they all said their prayers/can you hear me up there?”

cinder, of pyrrha: “people assume she’s fated for victory, when she's really taking fate into her own hands. interesting. add her to the list.” & “it’s not about overpowering the enemy; it’s about taking away what power they have.”

<- that second statement is salem’s strategic doctrine, through and through. but the ‘power’ cinder is talking about here is derived through manipulating the perception of destiny; the self-fulfilling prophecy. the invincible girl cannot be touched because she makes subtle adjustments to insure that no one is able to try. it is pyrrha’s belief in destiny that destroys her, as it destroys ozma. ozpin invokes fate to justify and explain his choices. those born with silver eyes are destined to lead the lives of warriors.

summer rose was destined to live and die fighting the grimm – so the world promised her. maybe she believed, maybe she felt like she had no choice but to accept her prescribed fate. until she met salem, and took fate into her own hands. made a choice. broke the chains. it’s about taking away what power they have, like salem did when she tore the scales from summer’s eyes, like summer did when she refused her destiny and joined hands with the grimm instead.

what does summer rose look like through cinder’s eyes? she was a huntress. she was literally destined to be one of the greatest huntresses in history, a hero, the shining pillar upholding the world order that chose the enslavement of children as a fair price for peace. fate dictated that she be the icon, the idol, the embodiment of the system that brutalized and subjugated cinder – she had every privilege cinder could ever dream of, freedom and security and a home, a loving family – and she chose to walk away.

and if they talked about that like, ever, and specifically if summer talked about that warrior’s destiny as a cage, a curse she had to escape – is it any wonder that cinder would adopt that framing to make sense of what happened to her? if summer rose was fated to stand at the pinnacle, then does it not follow that cinder fall was fated to be ground into the foundations? and likewise, if summer rose can shatter her pedestal and fall from grace, then cinder fall can shatter her chains and rise. summer proves that the idea of destiny is powerful but not inviolate. and it is hollow, it is a lie, a fiction, and that means it can be taken away. revealed as a deception. destroyed.

anyway

to the broader question

i think people really, really do not give the jaundice arc enough credit for the long-term set up it’s doing.

(or the very overt textual statement from THE HISTORY PROFESSOR! placing the blame for the violent radicalization of the white fang squarely on human bigotry and persecution of faunus in general; the white fang arc is clunky and hamstrung by the inadequacy of its vocabulary, but the fandom talking point that the narrative perspective on this subject has “evolved” or “improved” is just. not true. v1 is very emphatically clear that 1. terroristic violence is not activism, 2. ascribing the terroristic violence of a few to an entire minority group to rationalize bigotry is bigoted in and of itself and completely unacceptable, and 3. violent radicalization is created through relentless discrimination and hate, which creates a self-reinforcing circle wherein the justifiable outrage of the persecuted outgroup and the extreme violent reactions provoked by the persecution are distorted into a justification for further persecution by those of the in-group who materially benefit from perpetuating this cycle!!! all of this is explained in an almost afterschool special manner by the main character faunus rights activist and the history professor!!! in volume one!!! what changed is that the writers developed the skill and vocabulary necessary to weave these ideas into their storytelling in a more effective and more cogent way!!! literally begging the rwby fandom to start listening to the actual words the characters say)

ahem. the jaundice arc lays so much of the groundwork for jaune’s and ruby’s character arcs reaching all the way to v9 and undoubtedly beyond; it sets up the first pieces of the ozlem fractal; it foreshadows the white fang arc and sets up blake’s character arc of self-reclamation and figuring out how she wants to use her voice as an activist; it draws attention to the misogynistic cultural norms that define and are defined by the history between ozma and salem; it lays the foundation for the scene in v2 where ozpin questions blake, which hits the way it does because we have the context of anti-faunus harassment occurring openly at ozpin’s school and nobody doing anything about it, and by extension is the first stroke of the salem-faunus connection that is almost certainly the keystone holding the entire narrative together because it is her relation to the faunus that provides the key to decipher the lost fable.

the jaundice arc is a crucial load-bearing pillar that supports the entire narrative and people revile it because nobody in this fandom can be fucking normal about jaune. lmao

[hazbinbossbrainrot]

Episode 2:

Angel Dust: *to Alastor’s minion* Hey, sweet cheeks. What you doing later? I love me a man with a giant... tool.

Episode 7:

Husk: *exists holding a hammer in his hand paw in the background*

I feel like if Angel Dust and Husk hadn’t bonded in episode 4 (completely respecting his personal space after that) he definitely would have made a similar comment as to episode 2 😂

[phierecycled]

i die a little every time a person says whizzer/marvin's death is 'foreshadowed' in in trousers or march of the falsettos

[haru-chi]

You know .. I don't know why people only limit their option/thinking to "is Yorishima the grandpa or not?" and start rethinking everything from that angle only ..

Not to say this idea is wrong or right more like ... I find it kinda funny that people don't see Yorishima as anything but that .. that that his only purpose in the story either to serve as "fake grandpa" or "be the real grandpa" and see no other purpose or different role to him which's amusing in a way ..

It's like being blinded either directly or indirectly to other ideas which might be the real goal by Midorikawa-sensei, until she come and say that his role is actually different <3

Is him knowing Reiko for sure/weird familiarity between him and Natsume only serve the point of "fake/real grandpa" .. is that the only role and option opens to him story-wise ?

Some might say that then if not that one then what other options/ideas for him story-wise ?

I can't be the only one considering other ideas/theories about him related to Reiko aside from the grandpa one, right ?!

Like for example ...

him being the brother of the real grandpa so he's Natsume's uncle

him being Reiko's killer

him being a firsthand witness to the story of Reiko and her husband even how she died and by who thus hated the exorcist world and distanced himself ever since

him being the one who took care of Reiko's daughter/Natsume's mother after Reiko's death till she married and protect/hide her till then

as for what I believe personally, well, let's say so far for me he's not the grandpa for sure so I'm looking at things from that angle. so, I do consider all those options even tho I lean to a certain one maybe but can't say for sure yet ...

I'm only saying that Midorikawa-sensei has many options for him story-wise than what people actually assumed the first time and locked him down to only that to consider what else might be there for him.

there might also be an option I hadn't considered yet for all we know so far <3

[hellisanhonourstudent]

Amon + stealth waterbending

[albino-parakeet]

That one art of Yoshiki with his hair being blown by wind and covering his eyes creeps me out like…

I know it’s ironic since that’s just how he keeps his hair, but you can usually see at least one of his eyes.

I feel like I’m being cursed every time I see this art.

[rheas-chaos-motivation]

Just so y'all know, if I ever become famous, I'm not telling y'all. I am going to wait a while, and then drop that I am.

Like oh btw guys I'm famous now :0

and then y'all can guess who I am

[sevensoulmates]

underlying sexual tension with guy friends is one thousand percent a line that is going to come up later in the season with buddie guarantee it, such a poignant line foreshadowing buddie IMO this season

Abso-fucking-lutely. I wish people wouldn't say "oh it was a throw-away line" for jokey jokes like the other line about Eddie turning off women. This is Tim's episode, he wrote it, and he's also being extra careful about everything that's being written this season, so I don't know why anyone would think these lines are "throw-away".

The lines are there for a purpose. We won't know exactly the purpose till the season ends, but to me, this was very pointedly to show that Buck (and Eddie too) are unable to recognize (at this point in time) that it is very much possible to be a guy and have sexual tension with your male friends. Why would they put this line in this episode, coming straight from Buck's mouth to Eddie's ears, if it was not set up for them to eventually realize that not only do both of them have sexual tension with their best male friend, they're also in love with each other.

ABC didn't just invest I don't know how many millions of dollars on this season just for a fucking throwaway joke line. No.

This is foreshadowing. This is purposeful. You are not crazy for getting a queer meaning from this. It's intentional. And it will (hopefully) be addressed by some point in this season, if not in season 8.

I'll leave this here: