#from a narrative standpoint you could say now he's the kind of person who talks openly about his attraction and feelings

[usercelestial]

okay i get it but i also think its important to acknowledge that there is a difference between knowing from an audience standpoint that a character should be queer VS it firmly being acknowledged verbally within the narrative as a solid aspect of that character's identity irrefutably

[kelebriel]

So I’ve been rereading Homestuck lately. Considering the whole cafe thing coming up, I think the finale of HS^2 is going to release this upcoming Homestuck Day, so I wanna be prepared! And it’s been fuckin forever since I read it/the epilogues/HS^2, so I need to refresh myself! And I wanted to reread it, so get off my jock. So far, I’ve finished the first three acts, including the intermission. As I’ve been rereading it, I wanna catalogue some thoughts, below the cut! There’s gonna be discussion of animal death, abuse, and slurs, as well as just general spoilers, if you still care about that but haven’t read it yet. Can’t imagine why you haven’t read it yet, it’s been years. Jeez, man. First thought: Man, Homestuck is still a good fucking webcomic. I’m having a lot of fun reading it again.

-Homestuck starts pretty slow. I always knew that, but going back to it and man it takes a while to get going, action-wise

-Data Structure For Assholes pretty much could be written by Karkat, if Karkat wasn’t abysmal at that also.

-Rereading makes it baffling that anyone ever came to the conclusion that Dave was actually cool. He’s constantly being a doof and begging for attention from practically the word go. -So I know this might be controversial, but the r-slurs thrown around are actually kind of accurate. I was 13 when Homestuck started, and let me tell you, we were absolutely throwing slurs at each other. I can’t say for certain how much it’s being used now, being nearly thirty years old, but there’s a verisimilitude to that now. Not saying it’s necessary or anything, I don’t know for sure about that, and it’s probably an answer that changes on a person to person basis, but it was how teens were talking back in the day.

-The years have come and gone, and will continue to come and go. It’s already been nearly a decade since Homestuck’s heyday. But it doesn’t matter how much time passes; Homestuck music will continue to kick ass. I got fucking goosebumps during the EoA3 animation!  -Boy oh boy Jade could have been real bad, huh? From a narrative, OOC standpoint. This girl who lives in a temple island, who has futuristic technology and is a crack shot with a rifle and is also a nuclear physicist, whose grandpa was a billionaire and whose current guardian is a dog with powers over space and time, who mysteriously and inexplicably (at least at first) knows how things are going to go before they happen? Could have been a Mary-Sue-shaped millstone around the neck of the whole comic.

-I didn’t remember that Tavros was introduced third out of the twelve trolls. Seems kind of odd, considering how more of a side character he is compared to Karkat and Kanaya, numbers 1 and 2. Not complaining, though, Tavros attempting to troll Dave and getting supremely fucked with in return is still hilarious.

-So we kind of know that Bro was constantly fighting Dave to toughen him up for the Medium and everything. Was it successful? Sure, Dave was traumatized to hell and back by having to sword fight the person who was supposed to be raising him, but he is pretty good with a sword by the time he gets into the game. Although John and Rose are pretty good, too, and neither of them had assigned their strife specibus before that day. Makes me wonder how necessary all the fucked up conditioning really was. I’ll have to keep this in mind as I go forward.

-After their rooftop confrontation, where Bro shatters Dave’s sword and then flies off on a rocket skateboard, he drops his copy of the beta on Dave’s chest. How did he know that Dave needed them? Was that ever addressed? Is there some kind of software on Dave’s computer that tracks what he’s saying to his friends? That’s fucked up!

-The thing I’ve been coming back to the most, that’s been sticking in my head the longest, is Jaspers. I don’t know what it is about him and his fate that preoccupies me more than it did some twelve or so years ago, when I first read the comic. Maybe I’ve just been made more susceptible to pet death, I dunno. That image of a young Rose psychoanalyzing a cat in a suit was fucking adorable, and the flash detailing Rose finding him and the resulting funeral was heartbreaking. And knowing what we do now about Mom’s personality and how passive-aggresive/ironic she is, I have to say - if my cat died, I would also build him a mausoleum if I could. My family has an older cat now, who I love to pieces, who’s probably going to die within a few years. Me moving out was probably a good move to help build some space for when that happens. He’s a great cat. He deserves a mausoleum. And if I were in a position where I could bring him back, even at the cost of the world, well. I don’t know if I would actually do it, but I’d certainly consider it. Another thing that struck me about Jaspers’ disappearance is that I feel pretty certain that Mom had some inkling about what happened. Her house was built over the Skaianet lab, which had appearifiers and stuff in it. If Rose described what happened when Jaspers vanished, she might have been able to at least recognize the method of disappearance. I dunno what she would have or even could have done, but. Interesting to think about

That’s about all I have for right now. We’ll see what else comes to mind as I continue to read.

[yuukei-yikes]

it makes me so glad u like my saeru post bc honestly i get so scared sharing my kagepro opinions in this cold world but like yeah it's makes zero sense whenever i see people try to view saeru the same way they view the other characters bc that's seriously not the point😭. saeru is like sad from an objective standpoint but in kagepro's narrative alone he's what is holding the characters back from developing and gaining happiness. like the only thing abt him is that he's a fabricated shallow version of what being human is like and even then hes only the horrible parts bc he was created from despair. he's meant to be azami's, and by extent all of the mkdn and co's trauma holding them back. if someone tries to find any understanding in his actions then it defeats the whole purpose of his character. a true saeru fan wouldnt try to find empathy in his character but that sounds a bit crazy uhm. anyway sorry for the long ask just kagepro's narrative is so special to me so it makes me a bit insane. *closes the door to my cage and locks it*

1. i totally get you. ive been into kagepro for almost 10 years, ive grown up with it but only started sharing my content when i made this blog (like 5 years ago) and while ive always been loud abt my opinions i think im only NOW like REAAAAAALLY letting loose. i know what it's like to be nervous abt sharing ur opinions lol but u should keep doing it even if u think no one is listening bc someone IS listening and even if someone isnt WHATEVER i love living in delusion talking to myself that's what i do best

2. EXACTLY EXACTLY IT IS SO SO REFRESHING TO SEE SOMEONE GET IT SO PERFECTLY AND PUT IT INTO WORDS SO PERFECTLY TOO like i barely have anything to add because u just say it so perfectly. saeru IS a tragic character in the way it is created from despair like u said but the fact is that since it cannot feel anything like love u can never truly feel bad for it when it dies... it never wanted to help kenjirou, or save hiyori, or give haruka his life back. its purpose through and through is to keep killing everyone precisely because it brings tragedy. like sure it wants to live forever etcetcetc but what it wants to do is bring misery bc that's what it is

i think ppl are generally bad with characters like these because they try to give everyone a humanity?? like with alien characters for example. like it's such a pet peeve to me that people always wanna apply human principles and feelings to characters that are not... human. and the whole point is that they don't understand it and have to learn it or they just understand it differently or like in this case are straight up incapable of it. like this is so interesting. it is so interesting to have a character u will NEVER truly understand fully precisely because of your existence as a human vs their fictional non human existence. THAT'S the kind of thing that's so fun and interesting abt fiction and writing stories and characters, i think. srry that's kind of an unrelated rant that could apply to dozens of characters but here specifically it's like... yeah. there is definitely something interesting in humanizing saeru and making it be one of these characters who learn what love is and etc but that comes at the expense of kagepro's message and the question is why do u even wanna do that so bad. saeru is not THAT lovable anyway fuck that guy fr

because in my professional kagepro experience and here i am about to get a little bitter, 90% of the time it comes from being horny over omg posessed sexy anime boy bc ive never seen ANYONE objectifying clearing when its in kenjirou's body‼️‼️‼️ personally, that's also why im so UGH EYE ROLL at ppl sympathizing saeru but that's more personal lmao. *shakes fist* like mamoru miyano was 1000% chosen as haruka's va thinking primarily of saeru, secondarily of konoha, and haruka as the oh well he's here too ig. i am so sure. i am so DAMN SURE. u got sexy anime voice guy???? are you SERIOUS??? AND THE FACT HE VOICES SAERU EVEN WHEN NOT POSESSING KONOHA AND SOUNDS...LIKE THAT... MAKES IT MORE THAN CLEAR. THEY WANTED PEOPLE TO OBJECTIFY SAERU SO BAD. AND THE WORST IS THAT IT WORKED AND I WILL ALWAYS HATE IT FOR IT.

...........anyway. yes. i love long asks ty for writing to me and reading my tags and also for writing that awesome post (bow bow bow bow)🙏🙏🙏🙏🙏

[itsclydebitches]

God, I dropped this series long ago but if they give Jaune ANOTHER FUCKING THING by have him be related or connected to Salem I just. After killing Penny they shouldn’t even have Jaune be a character in the show, anymore.

It really has become a Jaune specific problem at this point and I say that as someone who likes Jaune well enough as a side character. I’ve enjoyed his friendship with Ruby (her first at Beacon!), his leadership of JNPR, and the benefit he brought to the series the last two volumes when he was allowed to function as support (the questionable way in which he was used—such a turning Ren’s criticisms into a ‘Share your feelings’ talk—aside). Jaune isn’t a bad character, he’s just a character used badly, particularly for a show that’s meant to be about our title girls, as well as one that needs to find a better balance among the rest of its supporting cast. Fans have a lot of issues with Penny’s death, but even when we put those aside we’re still left with, “Why Jaune? If someone had to mercy kill her, why not use her best friend Ruby?” Fans have some concerns about this island side mission, but when you put those aside too, were likewise left with, “Why Jaune? If someone had to fall in with Team RWBY, taking a chunk of time away from their development, why not Nora or Ren? The two characters whose dual development has been stated to need a major separation?” And then, of course, there’s the added issue of these two events (presumably) converging: Jaune has gone with Team RWBY so we can spend time in Volume 9 watching him mourn for Penny. Haven’t we been here before? Cue the worry that, once again, Jaune’s grief will be prioritized over others’, only this time instead of him have a teensy bit of justification for that through having kissed Pyrrha—Ren and Nora absolutely should have grieved more as her teammates, but from a writing standpoint it somewhat tracks that lost love will get the focus—now Ruby 100% had that connection to Penny, not Jaune. Jaune barely knew her. He never hung out with her at Beacon, didn’t spend time with her in Atlas, literally spoke to her once to keep the virus at bay. There is no relationship for him to grieve, which means that any work in that regard will revolve purely around Jaune’s horror at his own actions—which is precisely the kind of angsty focus many in the fanbase are over.

Now take all of this and toss in a, “Oh yeah, if the writers are setting anything up with this fairy tales series, it’s likely Jaune’s connection to the Big Bad which, depending on what exactly that means, could make him the most narratively important person in the group. At the very least, he’d be third, coming in after Ruby’s silver eyes and Oscar’s magic/knowledge.” It’s a problem when three of your four title characters are twiddling their thumbs (literally in the case of Weiss and Blake during the attack on Atlas) to make room for two side characters to forward the plot instead.

There are times when I also wish Jaune would leave the show. Not because I’m anti-Jaune, but simply because it’s clear by now that RT doesn't know how to write him for this kind of show. If they wanted Jaune to be such a focal point—the latest in a long line of warriors, the underdog archetype, the love interest of a prodigy, a villain expressing mysterious interest in him, leading the fight against the whale and the heroes’ first encounter with Salem, burdened with the horror of killing an ally for the greater good—then just make him the protagonist from the start! Or at the very least put him on Ruby’s team and re-work the title. I realize, of course, that none of this is possible now, I'm simply highlighting the problem with making the story about Character A... but continually getting distracted by Character B. I’m not upset that Jaune, as a fictional construct who is quite enjoyable in a vacuum, is getting attention. He’s an enjoyable character. A character who, in a different tale, could be really, really great. Rather, I’m upset that the show marketed itself—and is supposedly still about—Ruby, Blake, Weiss, and Yang, yet I keep turning around to find, “Never mind, the writers really want to write about Jaune instead.”

[veliseraptor]

Okay I'm new to this fandom and I'm a bit confused. Did Xue Yang and Meng Yao know each other? Did Meng Yao free him?👀Do xue yang know he has a parentage that dabbled in demonic cultivation?

congratulations, anon! you have hit the nail on the head of one of my perennial aggravations about cql-canon specific details, which is to say ‘what the hell is the deal supposed to be with meng yao and xue yang in qinghe?’

there is no real indication that they might have known each other except some meaningful side-eyes going on that don’t make a lot of sense in context other than, maybe, pre-flagging the idea that meng yao is ~problematic~ and ~untrustworthy~ I guess? (which, ask me how I feel about the idea that everything jin guangyao does forever is bad and sinister, regardless of timeline, effect, or motivation). but there’s no real, substantive indication (up until the empathy flashback in ep 41, I’ll get there) that they are familiar with each other, or that they actually do any collaborating at that point.

you could definitely headcanon them as knowing each other previously based on the fact that they both grew up in less than ideal circumstances, shall we say, but I don’t think there’s any evidence for it in-text other than aforementioned meaningful side-eyes. in fact, canonically we know where they both grew up locationwise and it wasn’t in the same place. but like, seriously.

(and holy shit this got long, I’ll spare you all with a read more. also: I have broken my usual ‘referring to jin guangyao as jin guangyao always’ rule for the sake of this post given that it is specifically about the era where he is going by meng yao, but it did feel really weird.)

speaking specifically with what we see in text (in episode 10), we see meng yao argue against executing xue yang, but only after wei wuxian has done so first. the next explicit link between them is when meng yao leaves the fight between wen zhuliu and nie mingjue saying that he’s going to go check on xue yang; following that, we’re told that xue yang has escaped and meng yao claims he saw the captain free him.

which is, considering the fact that he’s killing the captain at the time, a highly suspect statement to make.

there’s no reason for meng yao to be working with xue yang at this point! there’s just not! it doesn’t make sense for him even from a purely self-interested standpoint and, again, at this point in canon there’s no actual reason to believe that they have any prior familiarity.

(’but lise what about the flashback-’ yes I’ll get there.)

if you want my personal reading, which I think is compatible with the text as we see it, it goes like this:

1. xue yang quickly notices meng yao as a potentially interesting person. I don’t think it’s about seeing him as an ally or knowing him from anything beforehand - I think it’s about seeing him as interesting and kind of funny.

2. meng yao registers that there’s a distinct possibility of nie mingjue dying and/or the wen sect attacking the nie in force and decides to short-circuit that by just freeing xue yang himself, because he knows nie mingjue won’t do it but if xue yang’s gone then that (at least temporarily) solves their wen problem.

my evidence for this is based around the timing of when meng yao leaves to “check on” xue yang (mid-fight, specifically after wen zhuliu, inarguably a greater threat, takes over from wen chao), the fact that he looks definitely concerned when he does so, and the fact that, given where he is at this point, letting xue yang out otherwise makes no sense.

this does not strike me as the face of a person who is a-plottin some sinister business, and this isn’t a face he’s making at anyone, either; this is pure ‘ah fuck this ain’t good’ expression.

(yes, yes, I know, episode 41 flashback, I told you that we’d get there.)

3. meng yao frees xue yang, probably hoping he can make it as bloodless as possible; xue yang, in xue yang fashion, makes it as bloody as possible; meng yao sees his chance to do something about the guy he has always hated and who has repeatedly undermined him, and who probably also caught him in the middle of an incriminating action that nie mingjue would absolutely not accept as justifiable.

4. xue yang bounces, leaving jin guangyao caught holding the sword and surrounded by several dead bodies.

and then they don’t see each other again until xue yang ends up at jinlintai at some unspecified point down the timeline.

regarding the episode 41 flashback (see? I promised!), the view we get of meng yao talking with an unspecified person heavily implied to be xue yang doesn’t make sense in some very critical ways that also align with the selective editing that nie mingjue’s memories seem to have done on incidents we previously saw from a (presumably) omniscient perspective. many people other than me (see here, here, and here for some examples) have written eloquently about the disparities between the scenes as we see them in earlier episodes compared to what we see in the flashback, and how that suggests at least some unreliability of nie mingjue’s memories despite their presentation, since they are visually coeval with the rest of canon, as equally reliable. 

(what would be different if the empathy flashbacks were in some way visually demarcated, I wonder? it’s a thought. I like that they’re not because unreliability of narrative/narrator is such a theme, but.)

ANYWAY, regarding the section where we see that conversation between the captain and meng yao, now with bonus mysterious feet (implied to be xue yang) - a few things stand out to me.

one: nie mingjue has no way of having seen this - no personal access to what he’s supposedly seeing in his own memory. this suggests the possibility, at least, that this is a fabricated assumption of a memory. (”I believe this happened, and this is how I would reconstruct it happening.”)

two: possibly more significantly: the scene as played here doesn’t fit with canon as we see it in episode 10 itself. the scene with the captain and meng yao, as we see it earlier, includes here several additional lines of dialogue. considering the other discrepancies within the empathy flashback with previously seen canon, episode ten’s version, by virtue of not taking place within a (flashback of a) flashback and within the pov of an extremely biased character, could be read as more reliable.

see also: the flashback with the captain seeing meng yao talking to someone (implied to be xue yang) is placed directly after nie mingjue accuses meng yao of plotting with xue yang - an accusation he doesn’t make in the scene as it originally plays in episode 10. this is another place where there are several lines of dialogue that weren’t present in the earlier version of the scene, inserted apparently seamlessly into the record.

taken together, with the above where it does not make sense to me that meng yao was ~plotting~ with xue yang prior to freeing him as a way of getting the wens off nie mingjue’s back, I’m inclined to think that moment in the episode 41 flashback is a nie mingjue-generated presumption of what must have happened, rather than a factual account of what did.

meng yao’s choices in episode 10 make much more sense - as someone who, if nothing else, is definitely interested in preserving his position as part of the nie sect, but who also values nie mingjue’s life at that point enough to take a sword to the chest for him - if you don’t take that at face value.

regarding the second part of your question about the xue yang/xue chonghai connection - cql seems to indicate that he has some awareness maybe, based on his conversation with wei wuxian in episode 37? at least, he has access to Lore involving the yin iron that others were unaware of

and had one piece in his possession apparently pre-canon.

but honestly that’s a bit of cql canon that I pretty much ignore completely and sometimes forget about, though there are certainly interesting things that can be done with it.

[babygirldennis]

This shit is fake bby!!!

Here she is.. My masterpost of all the dumb, illogical bits of info contained within these s15 “leaks” that make me fairly confident they are complete bullshit. It also includes my little tinhat theories that have absolutely no evidence.

I will be putting it all under a Readmore in case you don't want to risk it or if you simply Do Not Care

First up, I'd like to point out that these call sheets repeatedly give very detailed backstories to characters that have few lines which conveniently paints a picture of each episode's plot. And I'm not an expert so correct me if I'm wrong, but after looking at other similar casting calls, they only ever include the demographic and necessary skills.

Basically who in their right mind would write up casting calls that give away so many spoilers? Seems like that could cause and issue if they were leaked lol. But anyway that's my 1st point. But onto the actual content

So the conceit of this episode as a whole is that during the pandemic, the gang "gamed the system" and received three (3!) Loans to start businesses that went bankrupt. One of these businesses is implied to be the one started by dee and charlie who end up selling to Qanon shaman. Already this is so impossible baby.

1. We've already seen the gang try to get a loan and it didn't work. They don't have good ideas. Ur telling me, they managed to finagle 3 separate loans for 3 separate business ideas from an actual bank?

2. Maybe I just have bad reading comprehension but how does one have a business that is both fictitious and bankrupt?

3. If the customer is supposed to be Qanon shaman, an actual real life guy, why are the only descriptors white and male? They say he's shirtless so are they going to paint on all of the tattoos he has? And if so, doesn't that kind of ruin the dramatic reveal when charlie "throws in" the viking helmet? Why would he do that anyways? Sus.

Moving on

Alright this episode would fucking blow for obvious reasons but im going to refrain from looking at this through my gay dennis thruther lens because im biased.

Purely from a narrative standpoint, a woman hasn't been shown to be interested in dennis in nearly 5 years during the wade boggs episode. Ever since, every single woman he approaches has been actively creeped out by him. And now I'm supposed to believe that 3 "smart, passionate woman" (In Their Twenties!!!!!!) agreed to go on a date with him? And Anna even slept with him! Just because he what? Agreed with her? I'm not buyin it.

Plus the concept of this scenario lacks any potential for comedy. When iasip gets political, they always discuss a very specific topic using hyperbolic situations and flawed metaphors. If this is supposed to be a political episode, what ultimately lukewarm point would rob be trying to make here? So far we know they're ranting about

The patriarchy

Privilege

Socialism

No more personal responsibility(?)

The... nature of power in society(??)

How on earth would an episode like get approved? This shit sounds like a Ted talk. It sounds like it was written specifically to sound like a political episode so boring and pointless it would generate outrage and mile long essay posts from Tumblr users and reddit users alike. Almost like this one lol.

On a completely unrelated note, do not try and convince me that Frank "casual cock ring wearer" Reynolds is unable to perform.

Jeez this is getting out of hand fast. Let's move on

Ok now we're starting to getting into the Ireland of it all. Let me go on a bit of a tangent here about all this.. Now I thinq there are just 3 possibilities. Either this is all a publicity stunt and there is some truth to the Ireland rumors, the entire thing could be bogus from some weirdo fan (ps, if a fan did write this I want you to know I fucking hate you. You did this to me), or it is a publicity stunt but Ireland is just more bullshit.

I am going to assume it was a publicity stunt, otherwise I just wasted my entire evening and I can't have that kind of mentality rn. Additionally, I'm Going to tinhat here for a second and say that the Ireland rumors are true, but the details are different.

I say this because if they were going to do filming in Ireland, they probably figured that that information would be impossible to hide. In essence, my completely unfounded hypothesis is that this leak was their fucked up little way of controlling the situation while simultaneously messing with us.

Ok tangent is over, returning to the casting calls. From the looks of it, dee starts a "scam" acting class and has some very devoted students (Note that Tony was also the name of the porn shop owner. Seems weird!) Presumably after the gang replaces her with a monkey as the title suggests.

Honestly, there isn't too much here that's a red flag to me... seems like a nice little dee-centric episode that is the link to the Dublin angle. Assuming I am At All right, this could be a genuine plotline for Dee. However, the monkey could be a red herring and there could be a whole different side plot with the guys. who's to say. Next one!

Ah yes this is the dennis we all know and despise.. no red flags for me here really, I'm also running out of steam because idk if it shows, but I am majorly sleep deprived atm. Anyway I'm going to the next one

Okay this is where things start getting weird again ough a migraine just hit, anyway back to my earlier point about how casting calls would never contains major spoilers bc the people who see these wont be under any kind of NDA..

These ones reveal that bonnie dies. Again, that info wouldn't be in a casting call.

But also they suggest charlie has a irish penpal named Shelley who is his biological father. First off charlie is illiterate, although as pointed out by @undeadbreeze shelley could also be communicating in symbols. However, this scenario is still unbelievable to me for a couple reasons:

1. Bonnie's last name is Kelly obviously, and we know it's her maiden name because Jack's last name is also Kelly. But Shelley's last name is... also Kelly? In the context of this big ol hoax, it feels like it was written to show that look! his last name is the same as charlie's! That's how you know that's his dad! But It would be way too big of a coincidence if charlie's dad happened to have the same last name bonnie.

And 2. There's the whole mystery of charlie's long-lost sister from 'charlie got molested' but never any mention of a brother which according to this, shelley has been pretending to be his brother for years. And we all know how much rcg loves their continuity, it seems uncharacteristically lazy to just tack this on without any prior buildup.

And finally let me talk about mac for a second and specifically the line in gus's summary "both are gay men who are attracted to the priesthood for all the wrong reasons"

Iasip has commented on pedophilia in the priesthood many times in the past which leads me to believe that they are implying that mac is a pedophile? Please let me know if I completely misread the implications of that statement, but if not, then that is completely insane and one of the biggest indictators that this is fake. Mac is awful, just like everyone in the gang but he is definitely not a pedophile.

However even if i did completely misread that, it's still proof this is fake.. For all his faults, Rob put a surprising amount of care and effort into mac's coming-out. It hasn't been perfect, but Mfhp in particular firmly established that mac's faith is integral to his identity so Its unlikely that rob would throw all of that away for a cheap shot at priests.

Ok my brain is irradiated sludge at this point, but in conclusion. I hope that 1. I'm right, at least about it being fake (Otherwise damb that'll be so humiliating for me) And 2. This eases ur fears a bit. I don't want to lose all faith in future seasons bc I love iasip and miss the gang. If you read this far youre insane but I literally love you so goddamn much because I spent so so long tapping this out on my silly little phone

Please feel free to add on or message me your thoughts and opinions I need to know I'm not the only one who uhhh went a bit insane. And finally: whoever made these is a cunt. Mwah.

[mistchievous]

This fandom has a very strange divide when it comes to Shannon Diaz.

I say strange because I don’t think you’re all as divided as you think you are. I think you’re coming from different places and completely missing each other. I might be wrong, but let me explain what I mean.

First, it’s possible to have multiple emotions and opinions about a character. You don’t have to despise a character completely or adore a character completely. And if you do either of those things, you should acknowledge when a character isn’t two-dimensional. Like, I love this character including their flaws. Or even, I love this character despite their flaws.

The issue with Shannon is that the diverging opinions seem to be coming from two different places. I say this because I personally have differing opinions regarding Shannon that align with both “sides” of this depending on how I’m looking at her.

There are opinions regarding Shannon’s character inside the narrative, and there are opinions regarding Shannon’s character outside the narrative. And those opinions clash.

I’m going to explain this as clearly as I can.

Inside the narrative, we’re talking about Shannon as though she’s a real person and we’re judging that character based on her actions.

The main thing people talk about, of course, is Shannon abandoning Eddie and more importantly Chris.

Then others point out that Eddie also left, but fans have been willing to forgive him. So why not Shannon? To which Side #1 points out that Eddie "redeemed” himself whereas Shannon did not. To which Side #2 points out that Shannon didn’t get the chance to redeem herself because she was hit by a car.

I tend to fall more in line with Side #1 on this though I understand where Side #2 is coming from. And there are two main reasons why. (Though again, please understand that Side #2 falls more in line with the outside narrative which I’ll address in a minute.)

One reason is because I feel like Side #2 is misrepresenting the differences between Shannon and Eddie as parents and what they “did”. And I’m not talking about Eddie being gone for work whereas Shannon just left. I’m intimately aware that money is no substitute for a person’s actual presence. My dad can help me out as much as he wants financially, and I know he loves me. But it will never compare to everything my mom has done for me emotionally by supporting me as a person and really getting to know and understand me.

When I say there’s a difference between Shannon’s form of “leaving” and Eddie’s form of “leaving”, I mean this. Shannon completely removed herself from her son’s life. She was gone. She didn’t even stay in contact as far as we know. Whereas Eddie may have run away physically, but he was still there in a way. He still communicated with both Shannon and Chris. He still went home to them on leave. I’m not defending what he did or saying that he was being the parent or husband he needed to be. I’m just saying that these two things are different. And I would honestly argue that one is more easy to “forgive” than the other, but that’s just my personal opinion.

Now. The second reason I tend to fall in line with Side #1 from inside the narrative is because Side #2 is kind of assuming that Shannon would have redeemed herself if given the chance and that she was worthy of that forgiveness.

They might be right, but they also might be wrong. First of all, loving your child does not excuse hurting them. And while Shannon did love Chris, she also caused him a large amount of emotional pain. So even if she did “redeem herself” as a parent, no one is obligated to forgive her for abandoning him. And it’s important to note that if Shannon were Chris’ father instead of his mother, people would probably be far less inclined to even give her a second chance. Much less think that trying to better herself and be a better parent meant people were obliged to forgive her and see her more favorably. It’d be more like “Oh. So now he wants to step up and be there.” Whereas for a mom it’s like “Oh, she was struggling so much. And she came back. And she loves her son. Etc.”

As a society, we tend to put moms on a pedestal and see dads as secondary. And it affects how we react to the things they do.

But also, even inside the narrative, there’s no guarantee that she actually would have stuck around for Chris. She completely abandoned him once, and she could do it again. And arguably, it would be easier to do the second time. Even if she loved Chris and didn’t want to hurt him. She loved him the first time too. Loving someone doesn’t mean you’re incapable of causing them pain. So this idea that Shannon would have redeemed herself is a hopeful one. Not a fact. And even if she did, no one is obligated to forgive her. There’s no scale where if she does enough good things, it magically erases the bad. Forgiveness is personal. You choose to forgive someone. People can’t buy it from you with their actions.

Now, let’s talk about outside the narrative.

This is where I more line up with Side #2.

When people say Shannon “deserved” a redemption arc and that what was done to her character was fucked up, it’s not a defense of her inside the narrative. At least in my understanding.

This is where you’re talking about Shannon from a creative standpoint. Where you’re stepping back from the story and viewing her as a character.

Let me explain.

While you may not like Shannon as a person, creatively she was a well-developed character. She was complex and had a variety of motives. She had an actual background that we got to see bits of in Eddie Begins. She was built into someone important who could have played a very interesting role in the story.

Instead, they basically fridged her. They said “Eh. I don’t feel like dealing with this character and all the complexities they add to the story, so let’s just kill her off.” And they did. They turned an interesting and multi-faceted character into a plot device and used her death to focus on Eddie. The woman died, and her death became all about Eddie. (And Chris, but the man pain was the main focus. Let’s be real.)

It was sloppy and weak writing, and I would argue that yes. Shannon’s character deserved to be handled better. Not because she was a great person, but because she was a good character. Not to mention the fact that it’s also a bit misogynistic because this sort of nonsense is almost always geared at female characters. Not the male ones.

(If you watch Lone Star, they pulled some similar nonsense with Charles Vega. And I was pissed. And so was a lot of the fandom. Tommy got an entire episode devoted to her coming to terms with his death, but I’ll be interested to see if they drag her grief out for an entire season like they did for Eddie. If her pain has the same level of focus his did. Because if they skip to her moving on, I will burst into ugly laughter. Especially when unlike with Eddie and Shannon, Tommy and Charles had a very loving and well-founded relationship that was going strong. So, the idea that Eddie would be more consumed by grief over Shannon than Tommy would be over Charles would have me side-eying the screen a bit. Even though I know grief is a very personal process. But I’m getting sidetracked. Back to Shannon.)

I’m not saying Shannon’s character should have been handled better in that she deserved to redeem herself and be forgiven and be a mom to Chris and yadda yadda. That’s all inside the narrative.

I’m saying that as a character, it would have been better to follow her. Not run her over with a car. Even if she had that “redemption arc”, it would be a more compelling story for her to fail. For her to try and redeem herself and then get “overwhelmed” by parenthood and make more mistakes. And if she didn’t continue to fail, there could have been the focus on divorce and how that affects families and children. How she and Eddie navigate their issues with one another to continue parenting Chris.

Instead, no. They killed her. It was lazy and irritating writing.

So, that’s what I mean when I say I don’t think you’re all as divided as you might believe.

Because honestly, I think most of you have a more complex view of her that lines up with this in a lot of ways, but it’s not something people have time to really explain. So, it comes out as “Ugh. I don’t like Shannon,” which rubs some people wrong who are viewing her as a character. Or it comes out as “Ugh. Shannon deserved better,” which rubs other people wrong who are viewing her as a person and parent.

This is just what I’m seeing and taking away from everything, and I hope it helps clear things up for some of you. Or gives you a better understanding of where the other side might be coming from. ❤️

I don’t claim to speak for the entire fandom. It’s just eyebrow-raising to me. Because I hold both opinions, so I don’t really get why there’s a big debate.

[a-clockwork-justice]

Everything I Love About Loser Geek Whatever

So, not too long ago, it was the third birthday of Loser Geek Whatever. Yes, I know the single was released on November 30th 2018 and its considered the song’s official birthday, but the 26th July three years ago was the first showing of the 2018 Off-Broadway revival of Be More Chill and the first time Loser Geek Whatever was shown to the world in any capacity. Therefore, I consider that day to be the song’s unoffical birthday and I’ve been waiting to write down everything I love about it so here I am. (This was originally gonna be posted on the 26th July but I can’t make anything concise so it took longer than that).

I’ve gone on and on about what Loser Geek Whatever means to me personally, how a slew of random chance introduce me to it, got me deep into Be More Chill, introduced me to 90% of my current friends, and overall up-ended my whole life, but now it’s time to dissect the song itself and why it’s so great. As much as I adore Loser Geek Whatever, it could’ve easily been any other song that threw me down a rabbit hole and that I could’ve latched onto- no, wait, it couldn’t have been, because Loser Geek Whatever is unique in that way. I did about a year of music at A-Level so I’m gonna delve into some of the technical aspects here too. I’m chronicling this mostly for myself so I am going as deep as I see fit because this song is a treasure hiding yet more treasures. If you happen to love Loser Geek Whatever as much as I do, this’ll be your goldmine.

So, grab a snack my fellow fans, because here’s a comprehensive list of everything to love about Loser Geek Whatever in roughly chronological order. Long post incoming:

The song starts off strong from the first millisecond - I don’t know what instrument(s) they used but just listen to the single version again - that opening chord blares at you like a siren. It calls for your attention, screaming this is incredibly important, and indeed it is. That chord, an F chord, has no indication as to whether it’s major or minor - it’s just the tonic F with its dominant C and another tonic F above it. In other words, it’s unresolved, it hangs in the air. From a narrative standpoint, Jeremy is at a crossroads, torn between giving into the SQUIP or staying loyal to Michael, and the music paints this. It has the same effect on both the single and album versions - I always hold my breath as it holds, it’s the gap in this crucial transition for Jeremy between who he was and him becoming something he isn’t.

To continue the thread of musical painting, the melody line contains the accidental E-flat which doesn’t belong to the key of F major. This once again illustrates Jeremy’s uncertainty, but there’s more - the whole introduction is a slowed-down version of the Apocalypse of the Damned theme from Two Player Game, arguably the point in the show when Michael and Jeremy’s relationship was at its strongest. Jeremy’s recalling everything he had with Michael, but the slowing down of the melody shows hesitancy, along with highlighting the accidental E flat. These latter points of course aren’t unique to Loser Geek Whatever - they’re also in the section of Upgrade that twins with Loser Geek Whatever. I’m just laying out why they work so well. 

I’m glad I waited until after I saw the show in London to finish writing this - I’m something of a Loser Geek Whatever purist, as made clear by my ire at them cutting it in half and tacking the end of Upgrade back on for the London version. I still enjoyed the show in London though and I’m glad I knew about this change ahead of time, because they did change something about the song that I think really worked - they added two notes in the bass to each bar, like heartbeats, which once again signifies Jeremy’s uncertancy and the importance of this major turning point.

It’s been firmly established by this point that Jeremy is a loser and he knows it. He doesn’t want to be a hero, he just wants to survive, but there’s a difference between that and feeling “inconsequential.” Jeremy is basically admitting that, in his eyes, it doesn’t matter to the world or anyone except Michael if he even survives or not. He’s not just a loser, or a geek - he’s a whatever, with no one caring who he is. And he’s felt this way for years - since middle school began. He’s now in his Junior year of high school - that’s five years of being in this state of being unnoticed at best and picked on at worst. He’s “the one who’s left out”. With just one little line, hell, one word, we’re given more layers as to why he so badly wants to change that.

Moving from the first verse to the chorus, we start to see Jeremy’s attitude shift, from being sad to being angry - he’s frustrated, resentful that he’s spent so long in this state (A lot of people have made similar comparisons about Will Roland’s Jeremy as a whole in relation to Will Connolly’s Jeremy and I think this song exemplifies that). He doesn’t deserve to feel this horrible - not now and certainly not for the next two years until he and Michael can be “cool in college.” When you think about it, what options does he really have? He could either give into the SQUIP or reject it and go back to where he was, still miserable and lonely. Yes, he has Michael and Michael is an amazing, kind, loyal best friend, but as many have pointed out, he’s also dismissive of Jeremy’s feelings of inadequacy whether he means to be or not, which only made Jeremy feel more lonely. Should Jeremy just expect to feel better about himself at some point before college? He’s waited for years, why would that happen at any other point?

More layers baby! Second verse, Jeremy rants on about his father’s advice about following his own instincts and how it’s gotten him nowhere he wants to be. Come to think of it, Michael’s advice about staying the same and waiting for their environment to change can be seen as similar - it’s arguably easier for Michael as he has two loving mothers who undoutably give him plenty of positive reinforcement. Meanwhile, Jeremy’s mother has left them, which likely instilled further feelings of not being good enough, and his father has fallen apart to the point where he can’t even put pants on, let alone step up to take care of his son, meaning that Jeremy likely isn’t going to take his advice very seriously, especially after it’s failed him so thoroughly. But to Jeremy, the problem isn’t necessarily the advice itself - it’s that it’s being followed by him. So now he’s going to turn around and put his life and every choice in something else’s hands, even if - no, especially if it goes against his own instincts. It still doesn’t feel quite right, it “feels bizarre”, but it’s getting him somewhere, so it has to be right in the most meaningful capacity, and to Jeremy, the “most meaningful capacity” is any capacity that isn’t his own.

Now the best line - the one about being a “normal, handsome guy”. Let’s get this on the table - Jeremy is trans. Will Roland himself said that he often thinks of the show’s young trans fans when he sings that line. Naturally, societal transphobia plus gender dysphoria would have a pretty catestrophic effect on the self-esteem of any growing teenager, even more so one in Jeremy’s situation for the reasons I’ve just laid out. He’s probably missed out on a lot of things that “normal” guys take for granted, with most girls barely looking in his direction, let alone in any positive manner. Jeremy’s own sexuality aside, it’s mostly society, and the SQUIP by extension, that considers scoring with girls to be a “manly” or masculine activity, and through Brooke treating him as dateable material, Jeremy feels better about fitting into society’s rules of how a man should be and act. This isn’t the only reason he feels good about Brooke finding him attractive, of course, but it’s just another layer that Jeremy sees more value in conforming to how society says he should be rather than in how he actually is.

I know I just said that the last point was about the best line, but honestly, there’s more than one best line in this song. The bridge is where we start to see Jeremy’s language becoming more technologically inclined - “prompt”, “command” and “bandwidth” are all terms used in computing and used to show how Jeremy is likening himself, or his intentions, to a computer, effectivly merging himself and his SQUIP into one entity and Jeremy willingly giving over his own individuality.

And HERE, we get to the kicker. I’ve talked a lot about layers throughout this whole essay, about themes and motifs building on each other. Jeremy is essentially peeling back the layers of his own situation and only finding reason after deeper reason after deeper reason as to why he should follow the SQUIP and not be a loser anymore. Now, he hits the core, the seed, the crux of it all - “The problem has ALWAYS BEEN ME!!” Everything he is, everything that makes Jeremy Heere himself, is and has always been wrong. This line is a gut punch and EVERYONE knows it - the performer always takes a few seconds to let it sink in before continuing.

As an aside, I wanna mention the differences between the single and the album versions of the bridge. The album version starts of quieter after the vocalising of the last chorus, and builds up to the climactic final line, while the single version is loud all the way through but gets even louder and punchier at the end. Both are good, but I personally prefer the single version - the album sounds like Jeremy is broken and desperate and on the verge of tears as he reaches his inevitable but ugly realisation. The single is also desperate, but it’s pleading and all-consuming and a THOUSAND times more powerful, I get chills every time I hear it. (Side note, the London version starts of loud like the single and ends quieter like the album, almost as if Jeremy is reluctant to admit what he truly believes about himself, and it’s easy to see why, it’s a damn harsh condemnation).

“Take a breath and get prepared” - Jeremy sings to both himself and the audience. The first half has been heavy and we need a breather. Yet just before he goes over the brink, he has second thoughts. His conscience, his own voice in his head, breaks through, warning him that his choice will have consequences for other people than himself. People will get hurt - Michael most of all. Not just by Jeremy ditching him; here’s something else - when Jeremy is the “cool dude”, he might end up being a bully to those who are losers just like him, cutting them down just as Rich’s SQUIP made Rich do to him. Who would be the perfect target for Jeremy’s potential future bullying? His former best friend and fellow loser, Michael Mell. It’s pretty damn likely that if the SQUIP hadn’t optic nerve blocked Michael, it would’ve told Jeremy to pick on him, and even though Michael has ostensibly been pretty good at brushing these things off before, the takedowns would hurt a LOT more coming from his former best friend - and we know this because IT ACTUALLY HAPPENS, granted without the SQUIP influencing Jeremy directly (also let’s just clear up that just because the SQUIP wasn’t on doesn’t mean its influence on Jeremy hadn’t disappeared - that’s not how emotional abuse works).

Twelve years of loyal friendship, of borderline unhealthy codependency … can he throw all that away for Christine, a girl he’s thus admired from afar and is only just starting to get to know as a person? Moreover, even if Jeremy gets Christine, what about himself, who he wants to be? He just wants to be something other than himself because he thinks that anything is better but … what? The cool dude, the hero or … whatever. He’ll take anything because he’s that desperate, but what about when he gets it? Will he finally be satisfied? Will it be worth failing his one real friend, an act so scummy that the only way he could possibly stomach it would be to somehow pretend he hadn’t done it?

But none of those questions matter to Jeremy now - he’s fully gaslit into believing that every thought and inclination that comes from himself is wrong and shouldn’t be followed. He needs to sync up with the SQUIP and the rest of the world and mute his own defective inner voice. When you think about it, the relationship between Jeremy and the SQUIP is one of the most intense abusive relationships ever put to fiction - we’ve seen emotional abuse and brainwashing before, but here, Jeremy is literally preventing from THINKING the wrong way because the SQUIP can detect his every thought. See what I mean when I say that doesn’t go away when the SQUIP turns off for a few minutes?!

Throughout all of this is the undercurrent of Jeremy wanting to get better. He’s been trying so hard for so long to have a better life, but nothing has worked. Not listening to his dad, not trying to get closer to Christine through theatre, and certainly not listening to Michael’s advice to wait until college. Why should he resign himself to even more time being miserable with no end in sight? After all, being cool in college isn’t a guarantee. After all he’s been through, it’s his turn to finally be cool, after an eternity of being someone he doesn’t want to be.

Another best line in this song - “I’m Player One.” As mentioned a few times in the show before, like in the Broadway upgrade, Jeremy feels lower even in his friendship with Michael - he’s Player 2 as the more experienced Michael is Player 1. As previously established, Jeremy admits that he’s “not the one who the story’s about.” Now he’s ready to finally take control of his life, be the main character and have good things happen to him, and that means cutting out Michael, the old Player 1. The irony here is that Jeremy is less like Player 1 and more like a video game avatar. In reality, the SQUIP is Player 1, making Jeremy do whatever it demands of him.

More best lines! The slew of insults towards the end serves not just as yet more gut punches for the audience but as a major catharsis for Jeremy - It’s telling that the insults get harsher as his rant goes on, from the “weirdo” to the “weakling freak” to the “failure” to the climactic “please don’t speak”. He’s unloading everything that he’s been carrying over the years, ripping out the bullets that have been embedded in his skin and re-opening all the wounds in the process, but he’s done with the pain and he’ll never ever let himself be hurt like that again, if he follows the SQUIP.

I’ve made a whole post about the significance of the best line “Please Don’t Speak” before so I’ll mostly be repeating a lot of what I said there because it’s been a while since that post and because I want to. Who would’ve said that to Jeremy? Probably not Rich or Chloe, it’s not like them. It had to have come from an adult in a position of authority that could’ve commanded Jeremy not to speak like that - one that apparently did so enough times for him to internalise those words like he did the others. (Even worse if it was more than one adult ...). Out of all of the insults, it’s easy to see how that can easily be the most scarring out of all of them - how would an adult let a child know they’re inadequate? By silencing them. Making it clear that their expression of self not only means nothing, but should be forcibly avoided. Put like that, it makes it much easier to see how and why Jeremy fell under the SQUIP’s influence so easily - telling it was hardly different from authority figures he’s experienced before. In even more sad irony, as Jeremy claims that he’s breaking free and letting go of his past as the “please don’t speak”, he’s just walking right into another, similar trap that he can’t easily escape from. The SQUIP literally vocal cord blocks him during The Play - if that doesn’t say “Please don’t speak,” what does?!

The climax is growing! The music shifts into the relative minor as Jeremy fully gives in to the SQUIP’s evil influence. This is the point of no return, the point where he’s literally being surrounded and overtaken - if you’ve seen this on stage or even just a bootleg, you’ll know what I mean, when the lighting shifts and the circuitry start closing in around him, it’s wonderful. The bass ascends, Jeremy declares once and for all that HE IS NOT THE LOSER, THE GEEK, OR WHATEVER, and he never will be again! As some have pointed out, the sequence of notes on the final “again” is the same as at the end of Be More Chill Part 2, except the last note is different. In BMC part 2, it goes further down by a minor third, but in Loser Geek Whatever, it rises up to the same note it started with. This foreshadows Jeremy’s fate - that he will eventually overcome the SQUIP and that he still has it in him to do so. Man, let me just point out how amazing that last belt is - it lasts for a full 15 seconds in a really high range and takes a LOT of control to bring it back up to the high B without breaking. This song really was written for Will Roland - his voice can pull it off seamlessly, but other actors and understudies have had to find workarounds. No disrespect to them, it’s a damn hard song and it kicks ass all the way through. Scott Folan apparently had trouble with it too, but on the day I happened to see him, he pulled it off without breaking, so props to him!

Overall, Loser Geek Whatever is my favourite song in Be More Chill and not just for its sentimental value to myself. It’s a genuinely deep, complex piece that earned every second of its six minutes. Loser Geek Whatever is definitely the missing piece the show needed - not only is it Jeremy’s solo song, it’s also his “I Want” song and, in a way, his 11 o’clock number all in one, as he’s having a major epiphany after going on a journey, albeit only half of one. It’s easy to see why Joe Iconis dubbed this his anti-Defying Gravity, but it’s also easy to draw parallels to No Good Deed - how both Jeremy and Elphaba vow to become something that society is forcing upon them rather than what they are, even if that society’s will is objectively worse for them. Loser Geek Whatever deserves a thousand times the recognition it has and I still wonder to this day what the fandom reaction would’ve been if it had been in the original soundtrack.

So, that was it. I’m not sorry it was this long.

TL;DR: Loser Geek Whatever is wonderful and anyone who doesn’t think so is wrong.

[galactichoneybee92]

Disorganized Thoughts on Sex Education Season 3

I binge watched the entirety of season 3 on Friday, and after sitting with it for a couple days, I have composed myself enough to offer some thoroughly disorganized thoughts on what I’ve seen. 

     While I did enjoy many things about this season, I don’t understand the people who claim it was the strongest. In fact, I believe that it was the weakest. I don’t know what exactly happened during the delay, but I swear they have to have lost staff. Writers, perhaps editors? Whoever usually reins things in a bit, keeps the show grounded, and everyone in character. Whoever had that job, they’re either gone, or they’ve just stopped giving a fuck which, while relatable, is unfortunate in regards to this show. Now what do I mean by that? Let me elaborate:

1. This season was gross. And I don’t mean in general, like I didn’t like it. No, I mean that the writers decided that being sexually explicit wasn’t funny enough and decided to add just a fuck-ton of fart jokes and toilet humor. And I get it, okay? This show prides itself on being crass. But you can be crass without being disgusting. I acknowledge that this comes entirely down to personal preference, but I can’t stand toilet humor and I feel like this season really ramped it up. Every episode was someone farting or talking about shit, or that god forsaken thrice cursed bus scene. Sex doesn’t gross me out, talk about sex all fucking day I don’t care, but I don’t need to watch an extended scene of someone digging their own shit out of a bus toilet in a sock and chucking it out the window onto someone’s car. And even just smaller things, like Aimee talking about the flour constipating her or her taking a massive shit in Jean’s toilet when she and Maureen were there. Those scenes weren’t necessary for the plot in any way, which leads me to believe they were just there because someone thought they were funny and if that’s you’re thing go off, but it most definitely isn’t mine. 

2. Ruby and Otis. And more importantly, what was the point of Ruby and Otis? Now don’t get me wrong, I like Ruby as a character and I found their relationship interesting. And I think that it would have been even more interesting if the writers had devoted more time to properly developing it- Ruby was getting better as a person but she wasn’t there yet. I liked it once Otis started standing up for himself more, and demanding respect in the relationship and as she started to actually care for him she did come to treat him more respectfully. I think with more time they could have been really good. But they didn’t get that time- she said she loved him and they didn’t even work through that fiasco before he was kissing Maeve at a gas station. Overall it had a lot of potential but the way they played it left me just sitting here like...why? Like from a narrative standpoint what was even the purpose? Because from where I’m sitting it really only served as yet another roadblock standing between Otis and Maeve and even though I shipped them like CRAZY in season 1 and 2 the constant unnecessary roadblocks are getting a little old. Which leads me to my next point...

3. Why was Maeve and Otis so unsatisfying? That’s not actually a rhetorical question, I can tell you: Because the writers put so little effort into what is supposed to be the main couple on the show. I feel like they put more effort into keeping them apart and then when it comes time to put them together they’re just kind of like NOW KISS, they only talk like once after and then they ship Maeve off to America. Now I’ve heard rumors that Emma Mackey might not want to return to the show for season 4 so if I had to guess at all of this I would say that both this point and the last was a sloppy attempt to cover their asses in the event that they can’t get her to sign back on. If she does return, they can explore the relationship between her and Otis in season 4. If she doesn’t, they’re probably going to put him back with Ruby. But they couldn’t just write her off without at least touching on the relationship they spent the past 2 seasons building, even though Otis and Maeve barely interact in this season, which is frankly another reason why it felt so shoddy. They spent exponentially more time talking to other people and then half the time when Otis was talking to her he was super cringe. 

     Overall, despite loving their relationship initially, the characters have changed so much from their original dynamic, and have interacted so little, that I really don’t even know what’s pulling these characters together. It’s disappointing to admit that I’m kind of over it but honestly even the writers don’t feel invested. it kind of feels like they put them together because the audience expected it and after 3 seasons of anticipation the payoff was generally underwhelming. 

4. Otis. Just...Otis. I understand that Otis was introduced as being a very nice helpful character in season one. He was the quintessential good guy. And then in season 2 he got to explore being a douche for a bit- which is fine. He is a teenager and he was going through some shit. But I really felt that by the end of season 2 he should have resolved that particular plot point. And he was a little better in season 3 I guess? But he didn’t really progress until the end of this season and from a writing standpoint I feel like they really dragged that out for too long. 

5. What’s with this show and it’s hard on for cheating? Like seriously, why does almost every relationship have some kind of infidelity. Like, were Otis and Ruby officially broken up when he kissed Maeve? Maeve certainly hadn’t broken up with Isaac, and this was almost directly on the heels of their very emotional sex scene. There was the issue with Jean and Jakob last season, and Eric cheating on Rahim with Adam. And then Eric (for some reason) cheating on Adam this season with random Nigerian dude whose name I can’t remember. Just...why is this a thing? 

     But also can we just talk about how weird the break up was? And out of left field? Like they literally spent the whole season developing their relationship, and then they get to Nigeria and after hiding the whole time he is subtly able to talk about Adam to his grandmother. And he sounds so proud, and so nice when he’s doing so, and not at all like he’s planning to end this wonderful relationship he’s describing. And then when he gets back, guilty after cheating on said boyfriend (like he should be) he asks Adam, seemingly as a test, if he would go out to a club with him. And Adam says no because that isn’t his scene and like...Eric knows that isn’t his scene. But at the same time, I feel like if Eric had sat him down and been like “You don’t have to wear makeup or dress outlandishly, just come to the club with me because it’s important to me” I really think Adam would have gone. And if the clothes and make-up were a dealbreaker like...why? You know who you’re dating. And while wanting him to tell his mom isn’t an overwhelmingly outrageous request, when you start getting into his physical appearance then that’s just actually trying to change him as a person and that’s just a really shitty thing to do. 

6. I promise there will be some positives in this list at some point but before that...what the fuck Eric? Like, I understand that Eric wants to get out there and explore his options, find someone more comfortable doing the things that he wants to go do. That’s realistic I guess, your high school relationships don’t work out and just because Adam came out for him he still isn’t obligated to stay in a relationship with him. But from a fictional narrative standpoint? What the fuck is this? Adam and Eric were one of the most popular ships on the show. They have been foreshadowed since season one, and had so so much effort put into developing them both as characters. Adam has come such a long way. They have brought him so far out of him comfort zone that Adam in season 3 is almost a completely different person to Adam in season 1. They spent so much of this season further developing the relationship they established last season, and for what? To break them up at the very end? WHY? 

7. Following on the heels of point 6, Aimee and Steve. They didn’t need to break up. I understand the direction the writers were taking this- Aimee wants to be single for a while to fully process her trauma and get to know her own body again. And that’s valid. I just don’t like it because I very strongly suspect that she will have a new love interest next season and that all her stuff about being single isn’t going to be shown. It will all happen off screen during whatever time skip they employ between seasons and then they’re going to use the fact that she is single to introduce a new more dramatic love interest for her since golden retriever boy Steve wasn’t interesting enough for them. Maybe that’s just me being cynical but if anyone can come out of season 3 NOT feeling a little cynical it would probably be a miracle. 

8. A positive! Finally a positive! I love the relationship between Adam and Rahim. Do I want them to date? Not particularly. I wouldn’t be mad if it happens, but I really just like them as like awkward begrudging friends. Some of my favorite scenes this season were the interactions between the two of them (Once again, the disgusting bus ride notwithstanding) I like Rahim a lot more when he isn’t interrupting my ship (which is a habit of mine. I liked Ola a lot more once she broke up with Otis) 

9. I don’t think Viv was out of character. Some people have been saying that she was, but I don’t think so. She has always been ambitious and even Jackson understand that about her in the show. And even when she was working for Hope and carrying out her rules, she was never an antagonist because she never gave up her personal morals to do it. For example, when Hope had them divided into boy and girl lines, Jackson asked her where Cal should go. She told him that boys went to the left and girls went to the right but as soon as Cal was like “Im not a boy or a girl,” Viv was immediately like, “ Oh! Right! Let me ask Hope.” She approached the situation in a way that made it clear that she recognized this issue as a legitimate problem and when she went to Hope it wasn’t framed like “This person is being an issue refusing to choose,” but instead like “We didn’t account for this possibility, that was our bad. How should we fix it?” Later on, on the class trip, Viv even lied to Hope and told her everything was fine because she didn’t want to get anyone in trouble. Viv took the opportunities presented to her, but I never interpreted it as her being an antagonist in any way. 

10. I love that Viv and Jackson remained friends, and I love that Viv has her sexy long-distance boyfriend who sexts about wheat XD Her sexting was one of my favorite scenes- well written, laugh out loud hilarious. No complaints. Sexy boyfriend was indeed very sexy and honestly, Viv absolutely deserves him. 

11. Mr. Groff better apologize to Adam next season, or at the very least have any kind of fucking conversation with his son at all or else why the fuck did I watch SO MANY scenes developing him as a sympathetic character? They could have spent that time developing ANYONE, but instead we were focused on him so like...I’m going to need some kind of payoff. Make it relevant

12. I want more bonding scenes between Adam and Maureen. I love Maureen- I love her friendship with Jean and I love how she always chooses her son over  her estranged husband (as she should) I especially love her very loving and supportive relationship with Adam, even though Adam is terrible at communication. It’s a self indulgent wish, I’d just like to see more. 

13. Isaac. I made many posts after the season 2 release, about how much I despised Isaac. Unlike Ola, I find that I didn’t have a complete change of heart but I don’t hate him AS MUCH as I did before. I still don’t like him though and while you might think “Yeah but you hate anyone who stands in the way of Otis and Maeve” no. This is historically accurate and yet, this season? Not true. For example, I don’t hate Ruby. Do I think her inclusion in the story was handled poorly in a way that made the entire plot point unnecessary? Yes I do. I also feel that way about Isaac, but less so because I feel like the relationship between him and Maeve deepening was better foreshadowed and was kind of the natural conclusion given the events of the previous season. As a character though, I still don’t really like him, and after 2 seasons of him I don’t think it has anything to do with him interfering with Maeve’s relationship with Otis- I just legitimately don’t like him. And I don’t like him with Maeve. I think the biggest irritant this season was the way that, after confessing about deleting the message he was like “yeah I fucked up but only because I like you so much, just forgive me” And then at one point I believe I remember Maeve apologizing to him for her reaction to everything. But then when he found out that she kissed Otis (admittedly a shitty thing to do) he got so mad and like, held a fucking grudge about it. And I get it, he has a right to be mad, but also boy you were the one groveling like 2 episodes ago get over yourself. They both fucked up in different ways but he acts like he has the moral high ground all the time and it gets really annoying. I don’t know, maybe I’m letting my general dislike of the character color my perception of events, but this show has managed to change my opinion on characters before but it still hasn’t made me like him so I think it’s just not going to. 

14. What the hell were they trying to do with Hope? Like legitimately, what? Because I can’t quite figure it out. And that’s mostly because I feel like they were trying to make her a nuanced and sympathetic villain, but they broke a cardinal rule- To make a villain sympathetic you must also ensure that nothing they do is inherently irredeemable. For example, principal Groff. He was a grade A dick for the past 2 seasons but I still feel that, now that we have a sympathetic backstory, if handled properly he could still come back from this. He can see the error of his ways and if he works really really hard to make amends to his family he could perhaps have his character turned around. In Hope’s case however, I would argue that they did makes her nuanced, but failed to make her sympathetic because as a character she went too far. If they had stuck to her just being a general tyrant of a headmaster - enforcing strict rules and regulations but doing so out of insurmountable pressure from her own bosses -  and then softened us towards the character by showing us her willingness to help Maeve get a scholarship, her troubled marriage, and her inability to conceive, it could have worked. The trouble is when they brought in her racism and general bigotry. Those weren’t flaws brought on by stress, those were deeply rooted character flaws that the character isn’t going to overcome because by the end of the season the character hasn’t even admitted them to herself. The issues were addressed by others, but not by Hope herself, leaving me to believe that the character herself still views them as a nonissue. I would be very surprised if she even appears in season 4 and moreso if they manage to even half-way redeem her. I’m relatively certain we won’t see her again, which makes me question the effort put into her character development. 

15. I like Jakob as a character, I don’t like him as a love interest for Jean, but I LOVE him as a father figure for Otis. It’s very conflicting because I want him to stay in Otis’s life, but I don’t like him as a romantic interest for Jean. also it’s pretty clear he isn’t Joy’s father so that’s going to be an awkward fucking conversation. If she even tells him. The way the show is going I kind of feel like she won’t, or will at least put it off for as long as possible. 

16. I want more interaction between Otis and Jean. Positive interaction, not just her being intrusive or Otis being a little bitch. I like their mother-son dynamic when they’re getting along so I just generally want more of it. 

17. Adam. Adam has become my favorite character in this show and I just generally want more of him and his relationships with others. I love his relationship with his mother but I want more if him and Emily, and him and Ola and now him and Ruby. I want to see him and Ruby discussing the Kardashians. I want him to train Madam and enter her in more competitions and just ultimately grow his social circle. Get all the love and support for god’s sake this boy needs it. 

Im sure there are plenty of things I’m forgetting and you can ask me about them if you like but for now it’s late and I’m tired. 

[theseerasures]

obviously the oceanic gulf of material and social privilege separating Winter and Cinder’s respective backstories cannot and should not be overlooked, but the other, just as important (if not more so, from a narrative and affective standpoint) factor that made their paths diverge is that, well.

Winter didn’t have stepsisters. she had Weiss and Whitley instead.

and that IS crucial, because it shifts and deepens the moral arc of what the show is trying to say: it’s not JUST the kindness you receive that shapes you into the person you are. it’s also about the opportunities you get to BE kind in turn.

i’ve bolded and italicized “opportunities you get” above to empathize that i’m not talking about some victim-blaming “ohhhhh but did Cinder try being NICE” bullshit. she didn’t need to turn the other cheek to her abusers, but she DID need someone to show her what being kind to other, similarly vulnerable people looked like before she could be kind herself. and that’s not what Rhodes, who blithely waltzed in and out of a no-Faunus establishment on a regular basis, did for her. what Rhodes taught her instead was how to be the exception--that if you’re lucky enough, special enough, if you claw your way through enough “competition,” then maybe you’ll have earned the right to be chosen by the distant, powerful figure who asks for nothing in return except your absolute service. not because they need it, mind. they don’t need you. it’s just the debt you have to repay.

(it’s not an accident that Rhodes’ Semblance made him untouchable, invulnerable--that is to say, unreachable on any level that would convey intimacy. and it’s not an accident that the moment he dropped his shield was the moment Cinder killed him; by that point, it was too late, and he was just another thing to claw through.)

Winter is horribly, painfully flawed, both in ways that echo Cinder and in ways that are diametrically opposite to Cinder, but it’s hard to deny that she’s in many ways “better” off than Cinder, and more poised to become a healthier person. that began with Weiss and Whitley: no matter how faltering and imperfect her attempts to protect her siblings actually were, no matter the toll it took on her and on them, she formed bonds with them that can’t be reduced to bondage. even now there’s a part of Winter that’s left open and vulnerable, which lets others take care of her, and lets her take care of others--just look at the way she’s tied herself inexorably to Penny. Winter understands that service can stem from love, not just debt, and that is simultaneously what is fucking her up in the present and what is going to save her in the end. Cinder, on the other hand, never learned this; not as a child brutalized by her wicked stepfamily, and not as an adult brutalizing Emerald, the closest thing to family she has.

if Cinder had gotten siblings who required protection of them, rather than protection against them, would she have protected them and become a kinder person in the present? i think a show like RWBY, which so steadfastly insists on the inherent generosity of people, on actively making the world better, would demand that we say “yes,” just as it would, as a corollary, demand that it is not too late--that given the right opportunities, the right environment, Cinder can still learn how to be kind.

[blueboltkatana]

thoughts on wano arc now that it's over?

hi anon i haven't been active on Tumblr at all for the past... what?! month now? So i have to apologise for not answering this when you sent it to me I hope it hasn't been that long. Regardless let's get into it. Warning: spoilers duh

So Wano was definitely an important arc, and it was a good arc I would say, maybe i would give it an 7.5/10 because it had its very good moments especially Gear 5 which I feel like it kind of carries the whole arc by itself and without it, it would be maybe a 6 out of 10 arc.

Unfortunately though, the Arc had some things that I personally, didn't like that much:

My biggest problem is mostly with the way Zoro's character was handled as well as some missed opportunities here and there; I would have preferred that Kinemon had died on the rooftop when the scabbards fought Kaido because it would have made the moment very emotional and made the stakes higher. Also i believe Izo should have survived the battle because his death was kind of unnecessary to me from a narrative standpoint, plot wise I understand but i feel like it could have been avoided.

Going back to Zoro, it's no secret he's my favorite but i like to think that i judge him fairly and so far he's had minimal character development that was His and only His. Wano was hyped to be "zoros arc" bc it comes right after wci which was sanji's arc and it's about fucking time we get some info about the mossmans past. During the whole arc he's constantly compared to Ushimaru and Ryuma only at the end to be confirmed that he is completely unrelated to them and he fights the second in command of the main villains crew as always, very cliché and a let down after all the hype that the possibility of him fighting kaido along luffy got. At the end Luffy is the one who's compared to Ryuma which was so weird?!?

Anyway, bottom line is, i got mossbaited.

Another disappointing conclusion was that of Yamato and not for the reason you think. Honestly i knew he wasn't gonna join very early on, ask me how i knew but you'll laugh, but the REASON oda gave was so lame!?! Wym explore wano?!? Boy get ur ass on that ship istg😭😭😭. Explore Wano my ass. Come on Oda be fucking fr. I got newnakamabaited.

i don't like that momo was turned into an adult but his mind is still 8 years old... like that don't sit right with me it just doesn't. His design looks good and everything but he's literally a child in an adults body it's weird i don't like it.

Hyori ending that shitface orochi was great but i wish Zoro played more of a role or at least was PRESENT when it happened bc he literally SWORE he would avenge Yasue!!! ODA OPEN THE FUCKING DOOR I JUST WANNA TALK!!

ok now that i got the criticism out of my system here is the good impressions:

Gear fucking FIVE BABY! that shit was crazy and so well thought out absolutely marvelous.

Zoro unlocking his kingly ambition was sick as fuck and he did have some incredible moments this arc that i really appreciate.

Robins first serious fight since pre ts 😭😭💓💓💓💕😌😌i loved it, as well as sanji's character development and the progress he's made <3

Kid and Law teaming up and all the moments they get to interact woth each other and the strawhats are sperb. I love it. the final separation was disappointing though, needed more tears and sad music from both law and luffy. (I'm joking that wouldn't be in character but.it would have been hilarious)

The bounties I'm pretty ok with. Jimbe getting such a high bounty was surprising, it might mean smth more than we know.

Also Shank's appearance 🤩🤩🤩

And the crossguild... the panel of croc and mihawk... Dilf nation REJOICE! THEY'RE BACK! God i fucking missed mihawk and now he's gonna be more active in the story i can't fucking waitttt

Overall good arc, great moments and essential to the story. the shipping game was strong especially for rarepairs and ships that haven't been very talked about in a long time were revived bc the characters interacted again after years lmfao so that's a win.

thank you for the ask, if there's any specific thing you wanna talk about go ahead bc I'm sure i forgot some stuff. <333

[scrawnytreedemon]

Can’t sleep, mind going precisely 56 miles an hour, so I think I’ll finally get around to writing this.

Couples days back, I went ahead and finally psyched myself up to do the Zant bossfight.

Because I’d picked up where I’d left off yesterday, which was just before the boss room, obviously I was taken back to the beginning of the area. This gave the whole ordeal a trek, if a short one, what with the Palace of Twilight’s laughable length, and me more time to think.

I didn’t want to do this.

It sounds stupid, but I really didn’t want to do this. I’d cried the day before trying to psych myself up and failing, and I’d cried then, before the boss door, stalling by sweeping away the crystal-fog as best I could-- A meagre attempt at housekeeping, and a futile one. Of course I couldn’t. This isn’t that sort of game. This isn’t a game for failed attempts at kindness, at least trying to clean this awful, awful place for an awful, awful man going through awful, awful things. I was supposed to be a hero.

Heroes don’t make beds.

They don’t wash dishes, or hang laundry, or hold a rival’s hand,

They kill.

The trek didn’t stop past the door, either.

We still had to walk up the stairs. To the throne.

To him.

And I was there, laugh-crying, wishing I didn’t have to. That I could skip this pathetic ordeal.

I tried to turn around and leave.

Despite it only looking like a larger one of the many, many doors we’ve passed through this awful, nonsensical, poorly-designed excuse for a palace that no one could ever live in, it didn’t budge. There wasn’t any turning back. I had to go forward, because this is an action game, and violence is key.

The game takes the reigns. Link walks up to the throne, sword drawn, despite my deliberate decision to sheathe it. The narrative begins again. Midna sneers, and throws a taunt at him.

Zant sits, and smiles. Smiles like he thinks he still has some form of control, or knows full well he’s lost it.

You know, when I was working through the Palace of Twilight, I’d come to the realisation that... Zant locked himself in the throneroom. From the outside. Logistically, despite the good laugh I had over this guy locking himself in from the fucking outside, where his opponents can grab the key, he could get out easily-- teleportation and all. But even that aside, it still spoke to a level of hasty panic, that he would even keep the key outside, behind a waterfall of yet more shitty fog-crytals in the hopes that would deter them. Deter us.

How long had the guy been here, alone in that room?

We all know what happens next. Despite this being my first playthrough, I’ve probably seen this cutscene a dozen times. Zant has what amounts to an overly-dramatised autistic meltdown expositing himself and his motivations. That he was upset and felt like everything he’d worked for had been taken away from him. That he was angry, angry and fed up of being relegated to a half-existence. Midna retorts, Zant wails some more.

What gets me is that, when Ganondorf visits him, engulfs him in this flaming ball of fucked-magical-fuckery, he just. Stares. He doesn’t say anything, doesn’t do anything. Ganondorf speaks as though he’s already decided that, yes, you will do, we will make a pact and rule Everything together; I will live on through you.

Did Zant even agree to this?

I think, subconsciously or not, he accepted it, but it begs the question of whether or not Zant was capable enough to partake in it.

Whatever the answer, he’s clearly not capable enough to partake in this. This fight.

It’s laughable, that I’m expected to find victory in this.

The fight was a fucking slog, 90% of the time. Some of these boss-battles I hadn’t played in nearly two years thanks to the impromptu hiatuses I’m so fond of taking, so I didn’t know what the fuck I was meant to be doing half the time-- And when I did, it lagged to shit everytime this poor bastard fired projectiles, because I was playing on the gamepad, because why on earth would I play this on the goddamn TV? It was a sad, pitiful encounter that I had to laugh my way through and also mumble “what the fuck“ on several occasions because I guess somebody at Nintendo ate cheese before bed and the dev team were so desperate to patch something together for this guy’s sudden crisis that they threw it in-- I’m obviously having a good laugh, but What The Fuck.

I knock the guy down in the last phase of the battle, the only one where he isn’t mimicking something else and dizzies himself spinning like a hyperactive child, and the game takes the reigns again. Midna prepares her hair. I look away-- I’ve seen it before, many times before, and it’s cartoonishly grotesque for a game that relies heavily on somber semi-realism. Midna has her own crisis-- And yeah, yeah bossbabe, I feel it.

It cuts back, and there’s a Heart Container on the guy’s throne.

I.

I killed a guy, and now I’m collecting his lifeforce. I stormed into the bunged-up attempt of a fortress conjured up as a last defense by a man who’s fallen head-first into insanity, tore through any meagre security measure like butter, murder the guy when he’s having an episode, he dies a fucked up death, and then I collect his lifeforce.

Is that fucked up or what?

For all of Zelda’s endless violence, rarely do you actually kill “people.“ It’s the kind of stuff reserved for the end, for Ganondorf, or some other corrupted nigh-demigod on the brink of losing their humanity, or never having possessed it.

We kill Zant.

Zant barely puts up a fight, and we kill him. Zant gets summoned from the netherworld by Ganondorf in Hyrule Warriors; we put him there in the first place.

If we were to view this from a literal, like this shit actually happened and these characters are to be held accountable standpoint, then what we did was justified-- If not wholly, then mostly. Zant got power-hungry, committed what amounts to a bio-terroristic coup on the government, disfigured his rival, a woman notorious for her beauty, then proceeded to attempt the same thing with Hyrule, leading to the indirect death of at least the people who got transfigured into Shadow-Beasts in Kakariko, and attacks you first, then yeah, no biggie?

But I’ll be fucking real with you chief, I don’t find it... I don’t know, persuasive? Effective? Compelling, would be the best word, to think of it that way?

What Zant is, is a narrative tool. One that was set up to be this big, bad interloper who you need to Take Down and Save Everything, as per usual Zelda format. The justification for why we should hate him, if I’m going to be honest, feels contrived, most of the time. He does some bad thing off-screen, Midna gets pissed, Midna and everyone within a 12-mile radius explains why we should be pissed in a way that often feels borderline developer-hand-y-- And that’s. Well that’s how Zelda usually is.

It’s justification to commit violence.

--To be clear, I don’t say this in a political sense. I mean it in the very literal “hit/kill a guy“ sense. And in all honesty, that’s kinda inherent to the ethos of action games. We enjoy catharsis-- We enjoy taking down big things, it’s satisfying! I’ve played a little Hyrule Warriors-- Loved the feel of it. Violence is inherent to even the most benign of action games, and it is what it is.

Where it falls short for me, is that with Zant, I don’t feel like I’m taking down some great foe that I should justifiably hate.

I feel like I’m a clearly more equipped person breaking into a room, and bludgeoning a mentally ill person.

I’m autistic. I may slot in easier to NT society than most, but I am autistic, and it makes me deeply uncomfortable to see something I’ve fucking gone through be used carelessly as flavour for a prelude to violence. I have meltdowns. They’re relatively rare, and mostly in my room, alone, but I’ve also experienced one out in public. It was only sobbing, but there’s a special kind of horror, of humilation in knowing other people, strangers, family, what have you, are seeing it, and all you can think is how much you failed.

I can’t fully articulate why I cried so much during this, quite frankly, menial ordeal. I’m half-embarrassed to even talk about it-- Because then that means caring too much, and I can’t care too much over a poorly-justified character that wasn’t even intended to be sympathised with and that most of the fandom laughs at. And I can’t say I blame them.

I guess at the end of the day it comes down to the ever-present pity; some strange, childish commiseration I’d indulged in ever since I was six and cooing over Bowser and how awful everything was for him, that despite my continuous efforts, I can’t ever seem to explain.

I didn’t like the Zant fight. It felt empty,

And all did was sweep cobwebs and try to turn back.

[brawltogethernow]

So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.

[troquantary]

Didyme, Part 2: Something, Something, Plato's Allegory of the Cave

Continuing from here, and we’re doing sub-parts for this bit. I’m genuinely surprised I had this much to say. (And fun fact, I almost lost the entire goddamn post, but fortunately I was copy-pasting into Word just in case. Not today, Satan.)

2.1. What Canon Tells Us

Didyme’s murder by Aro (and with Caius’ apparent assistance, either during or afterwards), is only mentioned on the page in Life and Death, the 10th Anniversary gender-swapped version of Twilight. Edythe/Edward mentions it briefly when discussing the painting of the leaders Carine/Carlisle brought back from Volterra, but it’s just background information with little narrative weight. I bring it up just to highlight Caius’ involvement and knowledge -- I’ll get back to that.

Now, here’s the “canon” backstory we have to work with. Per the illustrated guide, Didyme was Aro’s younger sister, and he turned her at some point after meeting Marcus, Caius, and Athenadora. Interestingly, the Guide doesn’t say anything about Aro returning to Didyme out of brotherly love; apparently he just wanted to see if she would have a powerful gift like his, only to be underwhelmed (”disappointed,” according to his Guide entry) by her actual ability -- she made people happy just by being around them. Then she and Marcus fell in love, sharing “the strongest romantic bond of any of the Volturi” (from Marcus’ Guide entry), and this prompted a suddenly very single Aro to seek out his own mate, Sulpicia. The Guide says Didyme “distracted” Marcus from Aro’s goals, and that the pair eventually made plans to split off on their own, leading Aro to murder Didyme so he could hold onto Marcus and his valuable gift. Although nothing written so far suggests that Aro even liked his sister, the Guide does state that Aro “truly loved her” and that his grief upon killing Didyme was genuine.

Apparently Caius’ role in all is was something Meyer thought up later, because none of the leaders’ Guide entries mention him being in on it. (You can’t see me, but I’m staring pointedly at Part One.)

2.2. Fuck Canon, Actually

(This just seemed like the funniest place for a cut. Continued below~)

I’ll be honest with you, person who’s persistent/unfortunate enough to still be here: very little about this murder scenario makes sense to me. I’m going to start with the “disappointing” nature of Didyme’s gift and that it was supposedly much less useful to Aro than Marcus’, because that’s just...stupid, frankly, and there’s no way Aro would have missed the inherent utility of Didyme’s gift. I don’t even have to read into anything to get this idea -- the Guide itself shows us how useful it is! It says right there in Marcus’ entry that Aro went off to turn Didyme, and returned with his sister, “along with the first members of the guard -- vampires who were drawn to Didyme’s aura of happiness.” That is a direct quote.

Just -- I practically shrieked when I read that. You’re telling me that Didyme’s gift was the stated reason their coven got its first subordinates, and I’m supposed to believe that Aro thought that was disappointing? Fuck off! Fuck off!! Even if Didyme’s happiness aura isn’t as powerful as Corin’s opium haze, well, Aro doesn’t have Corin yet, does he? He has every reason in the world to want to keep Didyme around, drawing other vampires to his cause -- even if most of those vampires aren’t gifted or skilled enough to join the guard, it’s still good PR.

At this early stage in the Volturi’s rise to power, it isn’t a good time to lose Didyme -- or any of his inner coven, really. Yet Aro apparently considered her disposable enough that he killed her. I can’t square this with what we know about Aro: that he’s still coherent despite holding god-knows how many people’s lives in his head; that he’s very intelligent; that he’s cunning, charming, and persuasive. Aro, once he learned they were thinking about leaving, would have tried to talk to Didyme and Marcus and done everything in his power to convince them to stay just a bit longer, until the Volturi’s position was more secure. And maybe he did; the timeline of all this is hazy, but nothing in the Guide suggests that Aro jumped straight to duplicity and murder. Clearly, though, whatever negotiations or arguments he presented failed. So what does their desire to leave the Volturi at this critical stage say about Didyme, or Marcus for that matter?

2.3. What It Says About Didyme and Marcus (Mostly Headcanon)

Brace yourself, because we’re into full headcanon territory now. To follow me, please refer to @therealvinelle ‘s meta about the larger mission of the Volturi and why they’re necessary, because I’m starting from the perspective that the Volturi are ultimately a force working in vampires’ and humans’ favor. While Meyer and the Guide would have you believe that Aro’s just power-hungry, actually looking at the impact of the Volturi and the benefits of enforcing secrecy shows that his broader vision isn’t just world domination, but establishing a world in which vampires and humans can both thrive and endure. There’s no way the rest of the inner coven was unaware of this goal; we know Aro talks a lot, so he’s certainly talked his coven’s ears off about this.

Now, we know very little about Marcus and what he was like before he was all dead inside. Based on what would be a logical balance of personalities, with Aro as lead decision-maker and Caius as ruthless enforcer, it seems likely that Marcus was originally the voice of reason and/or mercy. I also think Marcus would have had a strong sense of duty. The Guide says that Aro was the first friend Marcus had as a vampire, and I believe that Marcus cared about him very much and was committed to the Volturi. I think he would have been genuinely conflicted about leaving, especially considering the stabler, safer world the Volturi have been striving to build, and which they haven’t yet secured. Again, it’s a very bad time for any of the leadership to split off -- but in the end, Marcus and Didyme are going to do it anyway.

What for, though? Why leave? @theoriginalcarnivorousmuffin has an interesting take on that question here: that Didyme saw that she and Marcus would be locked into the Volturi life and a thankless existence for eternity and tried to opt out while she still could. I like it a lot, it’s a great post and that scenario makes sense, but the tone of it feels...too forgiving. Maybe that’s because I’m evil. But the way I see it, given the magnitude of the Volturi’s mission, and its (at best) very tenuous grip on power at the time Marcus and Didyme plan to leave (they haven’t even defeated the Romanians yet), jeopardizing the entire operation so that they can pursue their romance unburdened strikes me as...well, fundamentally selfish on some level, so much that I find myself side-eyeing Didyme and Marcus for it. Although to be clear, it’s not the desire to live their own lives apart from the Volturi that I find selfish, just the timing of their departure.

Honestly, I’d like not to vilify another female character if I don’t have to. Given everything I’ve just said, I see Didyme in much the same way as I see Bella: not a bad person, but someone with definite selfish tendencies. At best, she’s likely short-sighted or naive if she doesn’t see how leaving the Volturi at this stage is fucking them over in a big way. However, I hesitate to read into the happiness aura as a straightforward indication of Didyme’s fundamental goodness; I think she probably was kind, charming, and delightful to be around, hence the nature of her gift -- but that capacity for selfishness is still there. (I’m certain Meyer wants us to take her gift as proof of Didyme’s goodness, to reinforce how evil Aro is for killing her...but I think I’ve made my disdain for what Meyer wants me to think pretty clear.)

2.4. MURDER MOST FOUL

I am not saying it was justifiable or okay for Aro to murder his sister. I’m really not. It’s actually better, from a character standpoint, that it isn’t okay -- that Aro has to carry this with him for the rest of his life while Marcus sits in the throne next to him, reduced to a husk, so that in effect Aro has lost them both after all. It’s got that Greek tragedy element @theoriginalcarnivorousmuffin​ mentioned in her post. (Even better from that standpoint, the Guide implies that Aro found Chelsea relatively soon after killing Didyme, which compounds the tragedy.) I mean, it’s terrible, and it hurts me because I love Aro, but it’s compelling stuff.

What I am saying is, I can see how their insistence on leaving might have deeply hurt and offended him. And that brings me to my issue with the calculated murder scenario the Guide gives us -- I still think Didyme’s gift is too valuable for Aro to throw away by killing her in cold...venom (or whatever), even as the price for keeping Marcus in the fold. Plus, there’s the fact that Aro does love Didyme, and I imagine her gift makes it very difficult for people to think of harming her...when they’re calm, anyway.

Yeah, the only way I can really see the murder happening is if Aro killed Didyme in the heat of an argument about her leaving, possibly even by accident -- except you can’t accidentally kill a vampire, can you? It’s a very deliberate process wherein you have to dismember them and burn every piece, which also means it probably takes long enough that any irrational, overwhelming rage would wear off before you were done. But now that you’ve started....

I mean, at that point it would certainly be awkward to put your half-rubble sister back together, and Aro would be in a whole other load of shit even if he did. It’s possible, given what we’re told, that Aro could have lashed out and yanked Didyme’s head off before snapping out of it, only to realize that his sole option now is to finish the job. If he doesn’t kill Didyme now, she and Marcus won’t just leave, they’ll be sworn enemies of Aro from then on. And thanks to Didyme’s gift being the draw for a lot of the guard, and the inherently bad look of a leader who would brutally attack his own sister, a chunk of the guard would probably leave with them, destroying Aro’s plans. No, the only way to salvage it is to follow through.

Then Aro has to call in Caius for help with the cover-up, because it wasn’t actually planned and it’s just pure luck that no one walked in on the murder as it was happening.

And maybe Aro learns a hard lesson about learning to let people walk away, leaving the possibility open that they could be drawn in again. Because if Aro had just waited, he would have found Chelsea, and with her gift he could have had Marcus and Didyme back again.

Assuming everything didn’t fall apart as soon as they left, of course. But that’s a whole other what-if scenario.

[itsnothingofinterest]

We learned a lot this chapter about the Hero Commission and Lady Nagant’s assigned role under them as an assassin of subversive targets.

And it seems we were all pretty quick to put two & two together and realize that Hawks was likely intended & trained to do the same; explaining why he, and he alone among currently active heroes, chose to kill a villain for resisting arrest and representing a sufficient danger.

This revaluation, and discussion I’ve seen about it, have left me with two questions to ponder about him. 1) Was Twice his first kill? & 2) Would he kill again without explicit orders from the Commission? So I thought I’d ramble out a few of those ponderings here; just to get all the thoughts out.

Was Twice his first kill?

Personally, I don’t think so, but it was a question I saw brought up and that made want to write down why.

So the main evidence I saw against him killing anyone before Twice was that line up above to the HC president saying he’ll “corrupt himself” by taking on the job. The exact wording there kind of implies that, while he totally know what he was getting into, he hadn’t corrupted himself yet; meaning he hadn’t killed anyone. But...the problem I see is that, he could simply be referring to corrupting himself with his specific task with the League, or else easily mean he’d corrupt himself ‘further’ with that last part just left unsaid.

(Also not helping is that this was several months before the Raid & who knows what he’s done inbetween if he had become the HC’s shadow agent by this point?)

And more than that, when you actually look at his behaviour before & after killing Twice, it doesn’t give them impression of this being his first kill. Because, for as much as this fandom can talk pretty lightly about how heroes should or shouldn’t kill villains, it’s actually a pretty intense thing. When someone who’s never killed someone finally kills someone, you’d expect a moderately unique emotional reaction (see Tenko killing his family or Toga crying while sucking the blood from her first kill as two examples). You would not expect immediate rational thinking like trying to distract Dabi with his own emotional reaction to Twice’s death. That’s just not the actions of a guy who performed his first kill.

Like, to paraphrase the guy himself; “is this the face & attitude of a man who just took his first life?” I really don’t think it is. He just really seems like a guy who’s done this before in this scene.

Would he kill again without orders from the Commission?

This can be hard to accept about a character people generally want to think of as a good moral guy; but honestly, I think he would.

I mean just from a narrative standpoint, it doesn’t make much sense to think he’d never try it again. That Hawks is willing to kill is a major flaw in his character that’s yet to really be addressed, and a major point of tension around his involvement in the plot as he & the pros hunt for the exact type of villains he would kill. It feels like it’d be a really weird choice if that were all just silently dropped just because the Commission is gone.

But also from a logical standpoint & looking at this character; just because he doesn’t really like working directly under the Commission, doesn’t really mean he thinks their methods are wrong. He’s yet to really imply that he thinks the Commission has done anything wrong or that he was wrong to kill Twice; much the opposite, he totally thinks it was all worth it.

And I’ve asked this before, but if he thinks killing villains is worth it to put everyone at ease & serve the greater good, why wouldn’t he do this again on other villains who don’t come quietly that he deems sufficiently dangerous, like Shigaraki or especially Dabi? I mean heck; he liked Twice, thought of him as a friend & a good person. So if he’s willing to kill him, what’s stopping him from doing the same to villains he doesn’t like such as, again, Dabi.

He’s acting independent now and is doing what he thinks is right. But if he thinks that what the Commission did was right, that killing Twice was the right thing to do in those circumstances, that probably means he’d do it again in similar circumstances. He’s independent of the Commission, but he’d probably act like they’d want him too anyway.

All in all, Hawks just kind of gives off too many vibes under his happy demeanour of a guy who had killed many times before and is willing to do so again. That might’ve even factored into why we were so quick to put two & two together on him being a shadow agent of the Hero Commission, actually.

[luckyharbinger]

(REPOST) Winter’s Role in Volume 8

...and as it relates to Staff Theory, because...well, look who posted this.

So it’s not really a secret that Winter has always had a sort of passive role throughout the series. She’s a supporting character in every sense, not just a non-main character but a character who’s never the center of her own story. Everything she is as a person is tightly bound to someone else, as opposed to the kids of Team RWBY, JNOR, and co. who could all easily be the main characters of their own mini-series. Everything Winter does or “desires” is in the interest of someone else.

So what I’m going to discuss below is how that narrative rut affects her, how it relates to a few other characters, and what it might mean for the finale of Volume 8.

Alas, the original of this post got deleted, so if you liked the analysis, please give this one a reblog instead, since the other read-more directs to nothing.

Let’s start with V8Ch1.

This seems like a pretty normal thing to say to someone in the wake of terrible loss, doesn’t it?

Well...yes, on the surface. But from a narrative standpoint, there’s a little more going on here. This is one of many instances in which Winter is expected to take the place of someone else.

In Volume 7, it’s established that Winter was selected to be the next Winter Maiden, something she claims that she’d taken as her own destiny, but obviously not something she herself had ever planned for. At that time, it was unclear if taking the Maiden ability would change her as a person. But with that mantle taken by Penny (haha), Winter has a new void to fill: the one Clover left behind.

Let’s take a look at V7Ch3.

Sounds familiar, no?

The way the narrative compares Winter and Clover is more subtle than the comparison between Clover and Qrow, but there all the same. It’s a more situational difference and something that doesn’t have as much to do with who they are as people. In a narrative sense, Clover’s death quite literally marks a pivot in the plot where things go from pretty bad to absolutely fucked. Clover, you see, is Atlas’s good luck charm. When he’s around, things go well. He’s playful with his team. He likes Qrow. He says “James.”

Winter, on the other hand, isn’t lucky at all. After Clover dies (and with Winter attempting and failing to replace him), things are a little less than ideal. Everything’s going to hell. Winter is frigid and professional with his team, such as when she pulls rank. She’s always disliked Qrow. She says “sir.”

Anyways, back to V8.

It's pretty obvious in this scene that James could use a bit of comfort. He's only human. He's afraid. But James and Winter don't have that kind of relationship. She calls him sir. The person who would've called him "James" is on the table in the other room, and in fact, James had just been looking there before turning to thank her.

Winter almost forgets herself here. The pause between the question and "sir" implies that for a moment, Winter saw a terrified man instead of her usually fearless General. But James and Winter are colleagues, not friends, so Winter adds the formality back in, despite James quietly admitting to a moment of weakness.

Let's be clear: James is not consciously expecting Winter to replace Clover emotionally. No one is. James and Clover clearly have a history (see this post for a bit of talk on how Clover represents James's now lost left hand) and Winter obviously can't make up for that.

Let's take a look at V8CH7.

There's a reason Ren cuts Harriet off before she says "Clover." I'd wager there's two reasons. The first, of course, being that Clover is due to return, and the second being that even if he wasn't, Winter can't ever be him, and it's a disservice to her personhood to act as though she could.

Now, Winter knows she can't fill that void Clover left. I don't think she's really trying to, even as she's aware of that expectation (however subconscious that expectation may be). You can tell by the way they hide her expression when Harriet tries to named her as Clover's replacement. But Winter isn't like Weiss, where she becomes her own person after being free from her father. She doesn't fight people's expectations or really establish her own goals like Weiss does. She either runs from it (Schnee legacy) or she just goes with it (Maiden, Clover.)

I think Winter in some way will be a catalyst for the finale events. Nothing on Atlas's side will change until Winter changes, and she could very well be the last straw to either undo James or put him back together. It's not enough for Winter to simply not fulfill the expectation to replace Clover. She must actively and openly refuse it.

I'm not really sure what's going to trigger this change. Possibly Marrow, should he defect first, possibly a confrontation with Weiss after the bomb goes off. But every character's name speaks to some aspect of their character, and I think that if James represents Atlas, then much like the harsh climate, Winter will be something that's deeply impactful towards the fate of both him and the city.

Winter has not been her own person as long as we have known her, and that won't change so long as she is filling an expectation, taking someone else's place, or filling some void. Both Penny and Ren have stated that she matters, not as a Maiden or as a soldier but as a person with choices, and her character cannot grow until she takes those words to heart.

Both James and the Ace Ops are upset that someone they loved has died, but societal norms set in Atlas even before the Great War insist that teams aren’t made of your ride-or-dies, but of coworkers with no platonic or familial attachments. This emotional dissonance leaves them seeking a quick replacement instead of properly processing their grief, and this is where they subconsciously attach their emotional needs to their professional requirements from Winter.

What Ren is saying here isn’t just that Clover is too important to be replaced, but that Winter is too important to replace him.