#give her a better plotline for her death

[cozy-the-overlord]

I don’t think I’ve ever been as violently irritated with the choice to kill off a character as I was with that of Ilsa Faust in Dead Reckoning

[noperopesaredope]

Me: Ooooo, I wonder what this "Mouthwashing" thing is that everyone's been obsessed with lately. I should check some of it out.

Me, 30 minutes later: I would kill myself for you, Anya.

[fieryncbles]

Gosh, I'm so in love with Castle (the show & the man) but the fact that sometimes I make up better endings for cases than the writers is beginning to frustrate me

[sevensoulmates]

Buddie 7x07 "Ghost of a Second Chance" Meta

So sorry for the delay! This one took me a minute due to life/work stuff happening, but here it is! A doozy! This episode had a lot of parallels with the other characters storylines happening so bear with me here! This is mostly going to be about Eddie.

This episode deals a lot with past trauma, specifically bringing up stuff that some of the characters haven't dealt with in a while or seemingly had already dealt with in the past. Maddie with Doug's abduction, Bobby and the apartment fire, Eddie and Shannon. All of these are re-introduced in this episode, but it's important to note that they are NOT resolved, mostly Bobby and Eddie, and will likely continue into the rest of the season. Maddie reacts the most noticeably to her trauma being triggered, and of the three, she's the only one who has actually managed to work through that trauma from the past, so while it does affect her, it does not cause her to self-destruct like Eddie and most likely Bobby will.

As many of us predicted, we theorized that it was going to get much worse for Eddie before it would get better. And this episode has put Eddie on that path that will likely take him towards rock bottom if Ryan and Tim's interviews and teasers for his 7b arc are to be believed.

The first big parallel to Eddie's storyline is the woman and her baby being abducted by a man with mental health problems who allowed a past trauma with his ex-wife/child to reach a dangerous point. While Eddie's actions in this episode are not placing a woman's life in danger, it does parallel how in pursuit of soothing his own pain, Eddie and this man, are prioritizing their own feelings, over the feelings of a woman stranger (Kim) and an innocent kid.

I was already anticipating many many Shannon call-backs in this episode, but the writers dive in immediately by having Chimney intubate Catherine. This is the same heavy choice Chimeny had to make when Shannon was hit by a car, and Chimney was interim Captain. He had to make a choice to either intubate Shannon, effectively taking away her last chance to say dying words or to not intubate and allow Eddie and Shannon to exchange final words. With Shannon, Chimney does not intubate, but with Catherine, he does. This could possibly indicate the need for Eddie to make different decisions this time around if he wants to survive this new catastrophic plotline.

This was an interesting way for the writers to give us a kind of "speedrun" of introducing us to Marisol a bit more. I know that the ENTIRE fandom has been bugging over the fact that we "hardly know anything about Marisol other than DIY and Nunnery", and now they're giving us more information, but notably it's all very surface-level information. It makes the scene feel like Eddie's trying to get to know her for the first time instead of this being a woman he's been seeing for about six months at this point.

While 7x05 did indicate to us that Eddie is trying to get to know her all over again, it really does drive home how little effort Eddie has put into trying to build a relationship with her, which is then further proved by the rest of the episode. All of this demonstrated very clearly just how little investment Eddie has had in ANY of his relationships after Shannon's death. It's probably supposed to make us think "Oh, that's because he only ever truly loved Shannon!" but in reality, the Eddie-Shannon onscreen relationship was very tumultuous, and they spent most of their relationship (even during their time pre-military) away from each other. All in all, the topic of how well Eddie knows the women he's with, and how much effort/investment he puts into his relationships (including Shannon) are being pulled into question here. And I think it's being done to show the audience that Eddie has only ever dated and married women as a duty and not something he actually does because he wants to be with the women as people. Once again, this includes Shannon.

Before Marisol can even finish her two truths and a lie, Eddie interrupts, starting to dictate the conversation again, and Chris is the one who has to step in, reminding Eddie that this moment is about Marisol. Eddie has been the one to lead his relationships with both Ana and Marisol, almost to the point of steamrolling over them. A similar thing happened in his relationship with Shannon, where Shannon notes that Eddie is always making decisions for them without consulting her, including going to the military, or moving Chris to a new school, etc. and how that was always a giant issue in their relationship. While this moment is not Eddie purposely steamrolling over Marisol, it does show that again, Eddie has a myopic view of relationships with women, where he's constantly trying to steer them towards something that he wants without really letting the woman have any agency. Shannon had to physically leave him in order to get any agency of her own.

Additionally, the choice to have the get to know you game be "two truths and a lie", inherently implies dishonesty, or at least makes us think of lying. And considering that becomes a theme for Eddie this episode and likely in upcoming episodes, it's also indicative of the general theme of not knowing someone and not being honest with them. It could've been "twenty questions" or something not involving purposely lying, but instead it's two truths and lie, and Eddie is now about to be involved in a whole bunch of lies.

I've seen others point out that this line is clearly meant to compare Marisol and Shannon. Shannon, Chris and Eddie had a tradition involving smores, one that Chris and Eddie were trying to keep alive only last season when they visited Shannon's grave. This line is meant to show us that Marisol is not Shannon, and as Eddie actually gets to know her, this is more and more evident. It's no fault of Marisol's, but it's likely what is sticking in Eddie's head, right before he ends up meeting Kim. Eddie, once again dictating what he wants Marisol to be rather than accepting the truth of who Marisol is, exclaims that obviously Marisol has had smores because Shannon loved smores. But Marisol is not Shannon, and Eddie is always comparing his partners to Shannon in unhealthy ways.

While this line is clearly a joke, nothing is done without purpose in TVland, and this is another one of those times where even though Eddie's joking, it's actually telling of how he actually feels. He's already had one foot out the door with Marisol for the last 3-4 episodes, and now it's the smores that makes him say "we can still leave her" because who Marisol is, does not align with who Shannon was. But the thing is, I have a hard time believing that Shannon was even who Eddie truly wanted, at least not without expectation or pressure. Shannon is an Ideal, and no one, not even Shannon herself, can live up to it. No woman is supposed to or can reach this Ideal, because (in my opinion) a woman is not really what Eddie wants deep down in his most hidden of unconscious desires.

"You two aren't going anywhere". Oh, the dramatic irony is killing me here. Because not even a couple of minutes later, Marisol has lost Eddie for good when he sees Kim. The death bells have already been ringing from the very beginning, but this is the final death knell that has been rung. Even if Eddie stays with Marisol through most of this arc, their relationship will end, as will his relationship with Kim.

Eddie and Kim lock eyes and he's reminded of Shannon instantly. Because of that, this relationship is dead before it even begins. A moment later, Christopher calls out "Dad!" just like he did when Shannon and Eddie were on the beach, interrupting Eddie's thoughts.

Marisol notices Eddie acting weird, asks if he's alright, he says he's fine, and she calls him out, asking "is that the truth or a lie?" He promises he's fine, but we as an audience know that's a big ole lie. This has been the case for years, and it's interesting that it's coming at this point in the season. The early half of the season we saw Eddie the "happiest" he's ever been. And I can't help but wonder how much of that was true happiness, and how much of that was just putting off thinking about it. It's easier to lie and say he's fine, that his relationships are fine, that his relationship with Shannon was fine. It's harder to admit the truth, that he's not okay, that his relationships with Marisol and Ana were unhealthy and his relationship with Shannon was the unhealthiest of all. It's easier to place the blame on his unhappiness on missing Shannon, instead of admitting that it's his own choices that are making him unhappy.

Another theme of this episode is internalized biases and misunderstanding the current situation due to being blinded by the past. Maddie misses crucial details of her call with Catherine because she was looking at it with too much bias about her own situation with Doug. Eddie also misremembers his past with Shannon, but instead of recognizing his mistake like Maddie, and trying to look at it objectively, Eddie lets that bias from the past effect his current decisions, which is already resulting in a mistake by cheating with Kim and will likely result in more mistakes the rest of this season.

Maddie heard what she expected to hear. Eddie is seeing in Kim what he expects to see from Shannon. Both lead to really bad outcomes.

Eddie goes back to find Kim/Shannon, and they meet. She looks similar but not really the same (btw, kudos to the makeup team, wow). She has similar facial expressions (nose scrunches, giggles, etc.) and she asks him if he's looking for something specific. And the answer is yes, he's looking for Shannon in Kim, just as he was looking for Shannon in Marisol and Ana.

This is very obviously a sexual innuendo, which is interesting because their first real interaction is showing more of a "sexual" chemistry, than anything really romantic, or soul-connecting. It's a clear harkening back to how Eddie would use sex as a way to stop fights between himself and Shannon. It's also one of Eddie's biggest distancing tools. He used sex to distance himself from Shannon and from Marisol, as an excuse to not address problems, or just simply to not get to know them. And given that Eddie was having sexual dysfunction issues in his last major episode, this is meant to provide a juxtaposition to that. Sort of a "Hey look Eddie couldn't get it up for Marisol the Nun but he can get it up for the Shannon look-alike". On the surface, this might be to show us that Eddie really only has sexual chemistry with Shannon, but if you look below the surface even a little bit, you'll realize that his sexual relationship with Shannon was also deeply dysfunctional, but in its own way.

The answer is no. Eddie does not trust Kim because she's a stranger, but this line is meant to remind us that Eddie very much DID NOT trust Shannon for most of her arc in season 2 and even up until her death. It's a callback to the line in season 2 Merry Ex-Mas where Eddie says he "forgives Shannon but doesn't trust her" and Shannon says something along the lines of "Eddie trusting her enough to have sex with her, but not enough to let her see her own son". Kim is hitting all the lines that are meant to remind Eddie of rose colored "Good times" but are meant to remind us, the audience, of all the issues he had with Shannon.

This moment of Eddie and Shannon on the beach is meant to represent Eddie's "happiest" moment on-screen with Shannon when she was alive. Eddie remembers it that way, as kissing Shannon and finally having his family back together. But in actuality, it was the start of the end for them. Shannon thought she was pregnant, paralleling the time when they accidentally got pregnant as teens and both of them had to put their lives on hold and commit to a marriage that might not have been the ultimate right choice for them. If any of you remember, this is also the moment where Eddie and "signs" and the "universe" are connected for the first time. Eddie asks for a sign, and Shannon says she's pregnant. In my personal opinion, this was supposed to be a sign for Eddie to not get back together with her, given how traumatic it was the first time around, but he ignores it and tries to push down his feelings. "Life is like a vat of chocolate, it pulls you down but it's comfortable". And when Shannon very clearly stated she wanted a divorce, Eddie did not really seem to accept it...and the universe took Shannon away permanently. (Again, I want to reiterate this is all about fiction I'm talking about here not irl, okay? This does not apply to real life) The universe tried to warn Eddie, to bring him a sign, and when he ignored it, as he always does, the universe decided it needed to take Shannon away permanently.

And now here we are again, 6 years later, with Eddie ignoring ALL the signs over and over and over, and setting about down this path with Marisol that literally everyone knows will not make Eddie happy, and what does the universe do? It throws him the biggest wrench it could by bringing someone who looks/acts like Shannon back into his life. Kim was brought in by the universe (the writers) to show Eddie that his relationship with Shannon was not as wonderful and amazing as he remembers it....and he ignores all of the signs yet a-fucking-gain. I get the feeling that this arc with Kim is going to end VERY. VERY. badly for Eddie. I think we should all be preparing ourselves for that.

Eddie is making active duplicitous choices here. He's lying about being in a relationship with someone else, lying about being a single dad. And it's not the first time he's said something like this (see the "taken for now" line in 7x04), further demonstrating how he's always had one foot out the door with Marisol.

I also want to point out that Eddie lying and deceiving Kim and cheating on Marisol is not meant to be the show saying "this is good! this is who Eddie's supposed to end up with!" The writers know how most people feel about cheating. Most people are 100% aware that cheating is morally wrong, and by Eddie making these decisions, they're not supposed to show that Eddie is inherently a cheater or a bad guy. He's acting OOC on purpose. The writers want us to see Eddie lying and cheating and want us to clock that Something is Very Very Very Wrong and that has to do with Eddie's romantic relationships, Shannon, his perception of Shannon, his perception of his past marriage, and his expectations of himself.

We, as an audience, are not supposed to be enjoying this. We're meant to be uncomfortable.

911 is doing something really interesting lately with their pointed use of Full First Names vs. Nicknames. When I heard this my first thought was actually of Ana and how cringe it was to hear her calling Eddie Edmundo all the time. Shannon actually never once called Eddie by his full name. If anything, Eddie calling himself Edmundo here, introducing himself by it, is once again supposed to trigger the audience's "Something Is Wrong Here" mode. I was also going to mention how this is also something a lot of people have felt with Tommy's constant use of "Evan" instead of Buck. Some people like it, some people don't, but everyone can acknowledge that it's odd and unusual.

Even as he's flirting with Kim, talking more about "stimulation", Eddie is holding an "S" for Shannon. I think when Kim told Eddie her name, a sharp K, very far away from the soft S of Shannon, it was a slight shock to him. If her name was something similar like Sherri or Sheila or something, Eddie could've lived in the fantasy more. Her name being Kim momentarily broke the illusion, hence him looking down at the S for Shannon.

Eddie is remembering the first time he slept with Shannon after she came back into his life while he's sitting at the table with Marisol, completely ignoring her. But not only that, as many people have pointed out, he's misremembering. The walls in the background are recent, with the new teal color and his new bed. Shannon's hair is a cross between dark and light, almost like a mix of Kim and Shannon, and--and this one rocked my world--they had sex right side up.

Many have pointed out how it's odd that Eddie and Marisol's sex scene harkened so similarly back to his one sex scene with Shannon, where they both ended up at the tail end of the bed, upside down. People have often discussed Eddie and his upside-down sex as a metaphor for unhealthy sexual connection, for misconnection, and right side up sex to be healthy sex. To find that he is thinking of him and Shannon in his memory of being right side up has been pointed out by others to be yet another example of Eddie's rose-colored memories of his past with Shannon. In his memory, he views his relationship and sexual relationship with Shannon as this Amazing and One of a Kind thing, hence the right-side-up sex, but in reality, it was upside down, it wasn't healthy.

He's looking at his relationship with Shannon through a veil of the present, chock full of regrets, would've/could've/should've's, and two almost-failed relationships. Not to mention that he literally was just having extreme sexual dysfunction with Marisol not even two episodes ago it's very likely that his remembering this passionate, voracious, unquenchable thirst for Shannon is also brought on by the fact that he's having sexual issues with Marisol. It might also be him wanting to remember that he does and did have desire for sex with women...as long as they're Shannon or reminding him of Shannon. This is not at all supposed to be something that is represented as healthy for Eddie, and I don't believe the show is trying to put across that message.

Eddie remembers his sex with Shannon, and when he decided to "bring Shannon home for Christmas". Even in this scene, the focus is not on the two of them as a couple. He doesn't talk about how much he missed her, or how it feels good to be close to her again. He talks about how he wants to reunite her and Christopher. "Santa" in this present day and age is bringing "Shannon" home for Christmas, by bringing Kim into Eddie's life.

Bringing it back to Maddie's storyline, with the Big Bad Kidnapper of this episode. He was encouraged by his sister to move across the country for a fresh start after his wife and baby left him due to his own abusive actions (assumed, but the sister did say they were "afraid of him"). We don't know too much of the details of this man's story, but it does show a clear parallel to Eddie too, with his wife leaving him to move across the country too (though she left their son with Eddie because obviously, Eddie's not abusive like this man). But the man's sister was hoping that this move would mean he would "stop looking for them". Eddie ends up doing the same thing with Shannon metaphorically. He never stops looking for her in all of his romantic relationships, hurting other women like Ana and Marisol, in the process.

The man is so clearly a parallel to Eddie but in the worst most devolved way. Eddie has been seeking out a Mom for Chris for years, even when Shannon was alive. It was never about Shannon, wanting her, loving her, needing her because he's so deeply in love with her. No, it was, and still is, always about the mother she could be for Chris. It's the same thing he did with Ana, and with Marisol. I'm not sure if this thing he's doing with Kim will eventually lead there too, or if it won't make it that far before it gets blown up in his face. But Kim cannot be a new mother for Chris, even if she wants to be. Christopher would clock that she looks like Shannon, and might feel betrayed, like Eddie is actively trying to replace Shannon, which I doubt Christopher would take well. So what is Eddie's endgame here? In my honest opinion, I don't think he has one. I think he's acting on pure emotional hurt, and desperately seeking out a balm, and not considering the consequences of his actions.

Just like that man was hit dead on with the literal consequences with the police, I think Eddie's gonna be hit HARD as a result of these mistakes. I feel like it might be something really bad, possibly involving Christopher. If "isolation" is going to become the thing he might have to contend with Christopher being really really angry with him in whatever way that takes form, and the rest of the firefam not being happy with him either. I think Eddie's going to be going through another arc similar to where he was emotionally in season 3a with the streetfighting arc.

Just how like the man who abducted her was a parallel to Eddie, Catherine herself is also a parallel to Eddie. She's clearly in pain, but she refuses drugs that will make her feel better. She feels she has to stay awake and endure the pain as a comeuppance, similar to how Eddie felt he had to endure his pain like a man because he deserved it. She feels her husband will hate her, just like how Eddie feared Shannon would hate him for what he did. He fears Shannon would never forgive him, but just like Catherine, even worse is the fact that Eddie has yet to ever forgive himself. No matter how many times people tell her it's not her fault, no matter how many times people tell Eddie he's a good father or a good person, they will never believe it. That guilt still rocks them, and for Eddie, it's been the monkey on his back every day LOONNGGG before Shannon even passed. Likely he's been dealing with it from the second he found out he got her pregnant. Even though Catherine's daughter was returned to her, she will still likely feel guilty, just as Eddie's guilt has lingered and festered and turned to rot the longer it's gone unchecked.

It'll only be once Eddie can let go of that guilt, let go of Shannon, and forgive himself, will he ever be able to actually start healing, and making the right choices for himself.

Many people have pointed out how this parallels the scene in 3x03 with Christopher and Eddie coming to Buck's house after the tsunami. That was a moment where Buck was feeling "lost at sea" and Eddie and Chris came in to be his "life raft that gets you home." And now Eddie's the one lost at sea. He thinks he has to find Shannon when really all he really needs is here with Buck and Chris. Eddie and Chris are "late", but eventually, they will find their way home to Buck.

Have y'all ever heard the phrase "where there's smoke, there's fire"? It means that if there's a rumor or something being said about a topic, there must be some back story/truth in it. It's what I point out every time the show "jokes" about Eddie's sexuality or lack thereof to women, Eddie ready to leave Marisol, etc. They're in the script because there's a kernel of truth to them, even if it's still nebulous (or smoky) at the moment.

Additionally, Buck is making a new lasagna recipe (a metaphor for his new found bisexuality and MM relationship with Tommy) and something about it is not working. In the same way that I've been theorizing that there is misalingment in his relationship with Tommy, we're now seeing that lasagna (like in 6x01 where the couch theory was introduced) is yet another metaphor for Buck's relationships. He had 3 at that point in time (as well as 3 failed attempts at lasagna) and now he's here in a new relationship, and something about it isn't working, he just doesn't know what. I'll reiterate, it's not the bisexuality, but rather the person he's in a relationship with. This being told once again to Eddie, in Buck's kitchen, with Chris present, is driving home the point once again.

Eddie, on the other hand, is aligned with Buck. He knew ahead of time to order a pizza for them. This isn't usual, given that Buck's a good cook, and has cooked for Chris and Eddie many times. Eddie being attuned to Buck right now is meant to show that he can sense these things about Buck, even when it's not conscious.

"To be seen… to be found… isn't that what we're all searching for?"

Buck assumes Eddie's meeting with Marisol, and Eddie does not correct him. I've seen other people mention how this feels like Eddie is cheating on Buck, and not really on Marisol, and in my opinion, that all comes down to who is Eddie more emotionally intimate with. He already feels super disconnected to Marisol, even more so in this episode, but we've spent the first half of this season establishing how Buck and Eddie are closer than ever. So Eddie lying to Buck feels like the real cheating here, because Eddie has only ever given himself fully to Buck, in all his messed up glory. He's never given that to Marisol, or Ana. And he most definitely never gave that to Shannon.

Side note, I loved the cologne line because it implies that Buck knows how Eddie smells, and that smelling him now is something Buck is enjoying. Him saying they won't wait up for Eddie further cements the domesticity of the scene. Buck has a full relationship with Chris outside of Eddie, but they also have a strongly established bond all three of them. In an episode where Eddie assumes Marisol must love smores despite her never having tried one, Eddie inherently knows that Buck's struggling with lasagna and needs to order a pizza.

Eddie and Buck's flirting--because that's what it is-- feels natural. More so than the flirting with Marisol in the beginning of the episode, and more so than with Kim-Not-Shannon that was moored down by the reality that Eddie is severely projecting all of his major issues onto her. Buck and Eddie have an easy rapport filled with mutual support, inside jokes, gentle ribbing, synchronicity and above all, friendship and trust. THAT is why the betrayal of Eddie with Kim only a few moments later feels so stark and like a huge blow to the audience.

Eddie sees Kim, and all he sees is Shannon's face, but I have to give MASSIVE kudos to the hair, costume, and makeup department here because they couldn't make Kim look ANY more starkly different from Shannon. In the scenes at the store, Kim is dressed more professionally, in lighter more inviting colors. And then here, when Kim can take off the customer service mask, and be fully herself, we see that she dresses in darker clothing, pants, and jackets with her hair up in almost an alternative-punk style. It's a MASSIVE contrast to Shannon who was almost always dressed in lighter, warmer colors, in shades of orange, yellow, and warm pinks, with minimal makeup and long flowy dresses or soft sweaters. Shannon's hair was almost always down and flowing around her face with her bangs. Kim's hair is completely up, totally out of her face in a severe bun look, without any bangs. She could not look father from Shannon if she tried. And yet, Eddie is not seeing Kim, he's not seeing the individual woman who's probably really lovely, the woman he's inherently hurting by using her to be reminded of his dead wife. No, all he sees is Shannon, and he's 100% willing to tank his whole life just to get a bit of that feeling back.

Eddie is on his way towards rock bottom, and this episode is only getting started. The glass is going to shatter extremely hard, and I worry for what the consequences will be for Eddie for all this, because there's no way he's escaping this without deep cuts. He will likely lose Marisol and Kim in one fell swoop. As for Buck, Chris and the rest of the 118, that's yet to be seen. But we know Eddie's parents show back up later on, so they could be coming in with the steel chair, likely to hit Eddie harder when he's already down. After all, the originator of "Don't drag him down with you, Eddie" is none other than Helena Diaz. This season is giving very strong season 3/4 vibes, and if that's the case, it's possible Helena and Ramon are going to pose a problem by the end of the season like they might've done in season 4 if things had gone as originally planned.

I'm worried, scared and excited to see how this ends up for Eddie. But I'm also hopeful. I see a light at the end of this tunnel. After all, it's always darkest just before dawn.

Thanks for reading my meta!

[zettaireido-emotion]

Camus character analysis: games VS anime

If you finished the Uta no Prince-sama anime and your opinion of this man is "wow, he's kinda terrible," I don't blame you. in fact I've seen a lot of people say this

In this post, I want to talk about his characterization in the games and give my two cents on what the anime was trying to do with him, especially in his single focus episode Saintly Territory (S3E6).

Disclaimer: I wrote this on a whim because I'm sick and stuck at home so if anyone reads this, sorry I might go all over the place

Spoilers for all of the games!

The "be my slave" thing

Starting with Anime Camus's most egregious crime: treating Haruka like a servant/slave (however you want to translate it)

Basically in his focus episode, Haruka is tasked with writing a song for Camus. She wants to learn more about him in order to write it, but Camus will only let her follow him if she acts as his servant. She accepts without complaining, Cecil is rightfully angry, Haruka continues anyway and the song gets completed.

Now, am I about to say that Game Camus would never do this? No because he literally does lmao.

The anime doesn't pull this "servant" plotline out of nowhere, here's the context in his route:

Haruka accidentally overhears Camus talking about a plot to assassinate Saotome on the phone. When he notices that she heard everything, he basically tells her that he has to kill her now. But if she served him, he'd be able to keep an eye on her, make sure she doesn't leak anything, so she could escape death.

Okay uh "work under me or DIE" isn't exactly better, nor is it a good start to a love story, but I'm not finished!!

(A side note: I have to add that the anime made him look like an even bigger asshole and borderline dumb when it came to the things he made her do. Like he expected her to know that snapping your fingers means you want coffee without prior explanation. bro

^This might have been for comedic effect but I promise he can be actually funny and endearing.)

What the anime couldn't cover

The Camus episode wraps up with Haruka pulling through and writing a song that makes Camus "sincere," he says it's cool at the very end and that's the episode. I think the problem is that we technically didn't see him being sincere or what that even means to him, besides when he was singing (banger song btw)

It's a shame because in a 20-minute episode you really can't show the game experience of slowly piecing together what this man's problem is.

First of all, in Debut and AS you'll be quick to notice that he always has homeland and duty on the mind, constantly reminding himself that he's in Shining Agency/Japan for a reason, and it's NOT to have fun or make friends

The truth is, he slowly starts to appreciate the banter with his colleagues, music, and working there in general.

But because of his initial mindset, he has to rationalize & justify every connection he forms, like "it's just for work" or worse: "actually it was ALL A LIE and I NEVER ENJOYED A SECOND OF THE TIME WE SPENT TOGETHER, I'm such a great actor haha"

He uses that to fool himself and to push the other person away so it doesn't happen again. This scene is probably the best example:

(I'll be using google lens because it's faster but I checked that the tls were okay)

He also does this in the Non-Fiction drama, which may or may not have actually happened, but I think it's still a pretty good reflection of what could happen in reality because he tells Ranmaru their bond was a lie, then mopes around in his guilt thinking about the good times and wondering why he's sad, and THEN later doubles down on the "it was a lie, I don't care about you" because he just can't let himself get attached to anything.

Basically, he's terrified at the thought of forming actual bonds because he genuinely thinks he's nothing if he stops being a cold weapon:

At one point he does admit he sucks (as a love interest)-

-which is pretty huge by utapri standards. I love these games, but the amount of times where a male lead does something icky, and everyone, including Haruka, acts like it's normal or like it's Haruka's fault is ehhh but I digress

Upbringing

Of course he's very proud of his homeland and status, but sometimes it's to the point of thinking he can't be anything other than his title. So why is he like this?

We got to hear about his childhood from Camus himself a few times, and it often ended with Haruka thinking "wait? that's kinda messed up?" and Camus insisting it's nothing/it's normal so yeah that's something...

His parents were in an unhappy arranged marriage, and his mother was forced to birth an heir which traumatized her so much that she can't see Camus without falling ill. Overall it's a pretty tragic situation since what happened to her was horrible, though not Camus's fault either. Even now she refuses to see him, and I wouldn't say that makes him sad because he never really met her, but simply knowing of her sacrifice probably adds a lot of pressure. As in, he only exists for this one purpose (inheriting his father's title and serving the country), so if he doesn't play his part correctly, it would have all been for nothing.

He was raised by his father not as a child or son but as the heir, always treated and judged as an adult (even during physical training apparently, make of that what you will)

When Haruka asks about childhood memories he has a very hard time finding something that doesn't have to do with his duties or the nation. And then admits he didn't truly have a "childhood" since he was never treated like a child

As for the queen, I think his love for her is sincere: she taught him a lot of things growing up, and according to him, she's also a victim trapped by her duties so he wants to ease the burden.

So hypothetically, if he found things or people that made him happy in Japan, he would feel obligated to lock them away because that happiness is incompatible with his life: he'll have to leave when his mission ends, he shouldn't be spending time on things that aren't "useful" as he doesn't have the free will to pursue them

In his mind he's completely tied down by the fact that he was born and raised for a single reason, and the fact that he does want to serve the queen.

(This is Saotome describing him btw)

Also it might sound ridiculous to bring his self-worth into question because of how pretentious he is, but I've counted a few situations where he seemed to have complete disregard for his own life, only worrying about Haruka and Cecil's safety in scenes when they were present. And he thinks wanting to be loved unconditionally is a childish thought he shouldn't have.

"Double Face" was a lie. There's like at least 10 layers

On the surface he does have two personas, his perfect polite butler act for the media, and his cold bitchy attitude off camera. But honestly, even when he's not acting as a butler, he's often putting up a front to hide any form of vulnerability (from himself as well)

His main struggle is finding who he is outside of what he's being told to do. Before, he never actually stopped to think about what he WANTS because it just never occurs to him, or if it does he ignores it.

That's why realizing that he has his own desires is essential to his character development, and him staying with Quartet Night (and Haruka in his routes) is so important. It's why Reiji feels the need to reach out and when he does, Camus either freezes up or tears up;

This all makes him the opposite of Ranmaru (being true to yourself and sincere), and similar to Ai (gradually learning to view the world in a less cold and logical way), but I kind of want to save that for another post lmao

He is especially hard on Cecil because Cecil says & does whatever he wants, and everything still works out for him, which is a way of life that Camus can't imagine for himself at all (despite maybe wanting it?)

That he can realize this and eventually admit out loud, despite all his pride, is also one of my favorite things about him

Season 2 does hint at something, so that's pretty cool!

Side note, I really love that his theme in the new Oracle series is "Change," the melting of ice.

So what was the anime supposed to do??

Of course there's no way to show all this in a single episode or even during the runtime of the anime, and I never expected them to because the story is very surface-level (that goes for all characters).

It's just unfortunate since the anime is the most accessible and well-known utapri media in the western fandom, and the character's main episode is bound to leave the biggest impression.

I understand the choice of being laser-focused on the servant plotline, it's supposed to be funny (?) and waters him down to a trope that's easy to understand at first glance (the step-on-me guy I guess)

Still, I can't help but compare it to Ranmaru's episode, who was also hard to work with in the games but was chill in S3E7 and got to pet cats. Anime onlys will never know how much Camus loves to dote on his dog smh.....

[hyperions-light]

hey I was planning another post today but instead let’s talk about how much I love that there’s not really a ‘good’ ending to the companion plotlines in Veilguard. It reminds me of Leliana and Alistair’s plotlines in DAO in that what you choose says more about the player/protagonist than anything

I just finished Isana Negat a second time, and I did the other ending and I thought it was just as good. Like, yeah, Harding does deserve to be angry! They did fucking get everything taken away from them! It’s so painful and horrific; yes you can, and should, be mad! But also Harding prioritizing her very real love for and compassion towards other people is not wrong. It’s just different! It’s just Rook’s friend/lover asking them for advice, and Rook giving it! You know, like in real life except with huge magical rock giants

And okay I’m never going to kill Illario because I think it would make Luca really sad and he has enough problems, Whoops I misremembered this, I don’t think you can kill Illario actually. I love that for Luca <3 But yk, I’m probably still not going to imprison him. but I can see it! Because the cycle has to end, right? The violence and infighting of the Crows endlessly attacking each other over power is part of what allowed the Antaam to get a foothold in Antiva, because there was like a double agent or something (if I’m remembering right from Tev Nights). Some kind of ending needs to be made to this endless violence. And I suppose it depends on how retributive Rook is, which is a great question to ask of the player (one that is asked repeatedly throughout the game). It’s not like Illario didn’t do anything, you know! He probably deserves punishment. But Rook, as they always can at various points, can be merciful, can choose absolution. Wow no, I’m glad I was wrong I love it more like this.

And oh boy, I LOVED the ending of Emmrich’s quest, don’t even get me started! Like!! I thought it was going to be ‘well obviously we HAVE to save Manfred’, but how Emmrich talks about accepting his death and his sacrifice convinced me! I was like alright man, this is a real choice! I actually did make him a lich last time (made a lot of sense from a Watcher perspective, imo) and not only was the cutscene sick as hell, but the follow-up was so funny and I got some really sad Spite dialogue which fucking wrecked me. It was great— seriously, his plotline is one of my favorites in the whole game.

And Davrin’s! I’ve already expounded at length about how much I like his quest line and how it ties into the Grey Wardens, but I really think both of his options for the griffons are so workable, because you know the Grey Wardens, especially under Antione and Evka, aren’t going to hurt those little guys again! But also the scenes with Eldrin are so endearing, and Davrin’s hope for a brighter future for them is so sweet and genuine. It’s hard to pick! It’s about Rook's perspective!

Neve's I'll admit I don't vibe with as much just because of the like 'trust the authorities' angle, but i haven't tried saving Minrathous yet and I think it would be sooooo involving as a Shadow Dragon especially. Because that's what they're fighting for, right? That better Minrathous where they CAN be sure that if they send the insane cultist lady to prison she’s going to stay there? But there’s always the practical consideration of people’s lives being at stake NOW, of Neve needing her friends safe NOW. And just killing Aelia ensures she will never be an issue again. So I can see both angles for sure

And Taash ;-; oh, Taash. I haven’t posted about them that much yet because they make me very emotional and it’s hard to organize thoughts like that. But I really love their quest, and their struggle to define themselves. And look, I know people wanted the option to tell them they could be both, but like as a person who has lived a similar experience, it really feels sometimes like the world is making you choose. It can feel like you’re not enough of either thing for anyone. And there are parts of your identity that you will have to make a choice on, and I think it’s trying to speak to that. I did the Rivaini one, and it’s like… well, they’re embracing the culture of Rivain, but it’s not like anyone is ever going to look at them and NOT see a Qunari. You can’t get away from that. What you choose to do in response is a real dilemma and I think that if you engage with the text genuinely you can see what Trick was doing. Also, there is a really great dialogue from Rook that I think gives more context to the discussion; they can say that they have been many things, and it’s important to take what works from each experience and make it part of yourself. So I don’t think Taash’s plot is trying to make them throw away any of themselves, just defining priorities. (Sorry, that got long. Feelings, opinions about that one)

And I don’t think Bellara’s is obvious, either, especially with how they involve the Nadas Dirthalen in her personal plot. This is a thing that is really emotionally and culturally significant to her, but at the same time it is part of what hurt her brother and ultimately took him away from her. She’s really preoccupied with not causing harm by her actions; she spends the whole game worried about it! And even though Rook doesn’t see the dangerous elements of the repository, that doesn’t mean they’re not there. The puzzle quest you can find in Arlathan proves that other people besides Cyrian were taken in by Anaris. And also, there’s the plot thread they briefly touched on in the last game which is that the culture the Dalish have built, that they have RIGHT NOW, is not wrong. But it’s also important to remember history, even if it’s unpleasant or could be dangerous, which is another thing you can discuss with Bellara during the game. So there’s no wrong choice! It’s just about Rook and Bellara and what’s important from their perspectives.

Anyway it was super refreshing to have these kinds of choices! It reminds me of the best character choices in DAI and DAO, especially, and I’m so happy they carried those things forward and improved on them.

[thewertsearch]

Anonymous asked: You: "Wow Homestuck is my favorite comic ever! Kanaya is the best :)" Hussie: "LOL, LMAO" @morganwick asked: (Try not to think about the idea that the conversation future Jade alluded to where Kanaya got the password was the one with past Jade that immediately followed that conversation, and that Jade is waiting for a password from Kanaya that'll never come…) @bladekindeyewear asked: [...] regarding the password Jade said earlier she had been patiently waiting for… unfortunately, I think we saw Jade give her said password just before the walkaround… and in hindsight, it’s quite a regrettable one. “GG: the password is…………… GG: CROOOOOOOOOOOAK”

I had the same chilling thought over the weekend.

Yes, it's very possible that Kanaya closed her password loop in her very next conversation, which means the timeline doesn't actually require her to be resurrected. This removes the main piece of evidence I had that she's coming back - but even so, I still don't think she's gone for good.

What it boils down to, basically, is that Kanaya still has a lot to do.

First of all, her arc surrounding the survival of her race is still unresolved. Sure, someone like Karkat or fellow Space girl Jade could pick up the baton, but this arc isn't theirs. Jade has no personal investment in it, and Karkat, while obviously motivated to save his species, isn't connected to the Matriorb or Mother Grub the way Kanaya is. This revival plotline is hers, and right now, it's dangling like a loose thread.

If that was the only narrative issue, I could look past it - but it's not.

Guys, this was her last conversation with Rose. And I'm sorry, but I just don't believe that one of the longest-running ships in the comic would end here. Kanaya's romantic arc with Rose is really just getting started, and their last conversation really doesn't scan as a goodbye, even in retrospect.

Like, sure, these last words would be kind of ironic, but is this really how you close the door on one of the most kickass compelling relationships we have? Rosemary deserves a better death than this.

Speaking of which...

This is how we're disposing of Kanaya? With an (admittedly kind of funny) SBaHJ reference?

Bro, a significantly less important character, gets a dramatic death pose, framed by one of Karkat's best lines, and Kanaya - Kanaya Fucking Maryam - gets a sparkly Hope wand and a meme? I'm calling bullshit.

Now, Homestuck is more than happy to give its characters undignified deaths. Tavros certainly got one - but Tavros also died at the end of an intense, dramatic flash animation, and his murder served as the culmination of the Vriska/Tavros arc we've been following since early Hivebent. Tavros died without dignity, but the narrative weight of his death was enormous.

Kanaya died in the middle of multiple character arcs, in a manner that lacked dignity or narrative weight. She was essentially collateral damage to an unrelated feud between Eridan and Feferi. She died like a secondary character, and she's not.

I'm self-aware enough to admit that this is partially wishful thinking. It's not like I'm an unbiased observer - Kanaya is my favorite character, and I dug deep into the comic for evidence that her death doesn't make sense. But, that said - her death doesn't make sense. My narrative instincts are telling me that Kanaya is coming back - I just don't know how.

[powerpuffobsession]

As much as I love Adam for a few fun parts of his character and for what he could have been at the hands of a competent writer (as shown by the fanfics where he gets properly developed)...

I feel like he (and the way he's characterised) is what broke Hazbin hotel season 1 pacing, Lucifer's character and the show's overall atmosphere.

(Long and packed rant under the cut, because I've been having these thoughts since I saw season 1, and I want to share them. Viewer discretion is adviced)

Before Adam existed (pilot era) it was all simple and worked more properly: a story about the hotel and its inhabitants, and most importanty, redemption. It was a small snuggly location with a few characters in the center of a plot

Heaven was in the background and kept as a mystery. Moreover, from what we've seen in the pilot, Lucifer was obviously a background villain or at least an anti hero, one of the real obstacles for Charlie to overcome on the way to her goal (instead of a minor inconveniece resolved in a single broadway song)

But when Adam and his weird obsession with murder broke into that perfectly cut out premise, everything just shattered. Too many themes got weaved into the short story of the 8 episodes: Heaven vs Hell politics, overlords, war, Charlie's conflict with Adam, the seraphims...

All of that pushed the hotel and the redemption to the background instead of Heaven.... in a cartoon that's named after the hotel. Because 8 episodes is not enough to talk about politics, a war and a 6 month redemption course (the latter even happened behind the screen with only some verbal hints given about the amazing secretive progress the hotel guests made that we were not allowed to see!)

(Had this cartoon stayed indie, there would have been a possibility of making more episodes and tackling more themes properly. But big name broadway actors are more important than that, it appears)

Back to Adam.

He is not even a good villain. He really should have been more of a background antihero. Give the man some sedatives, for f's sake! Where did all that rabidity even come from, after centuries of living in Heaven? Honestly, he'd be expected to act calmer and wiser than how he actually did, especially with how old he is (as old as the earth itself). But instead it's like he got frozen in a state of a dumb jock bully from high school

Imagine if Adam allowed Charlie and her hotel guests to prove that redemption is possible, out of principle, or curiosity. Hell, maybe even allow him to threaten to kill them, but not straight away! Later, after they fail to prove him wrong! If that's what Adam's role had been, the hotel part would have gotten time to breathe and more spotlight

All Adam did in the series, was:

1. make a lot of excessive noise

2. do dumbass things (and it wasn't even explained WHY he's the way he is, not even a single flashback or his own musings and thoughts shown, which makes all of his actions fall flat in every sense)

3. break the remains of logic (Heaven looks plain dumb because of him, not able to tell sinning from non sinning and to judge human souls properly. It's not even corruption, since Adam is not that important or benefitial to Heaven, an actual archangel like Michael could have been leading exorcists in his place and do a better job.... it's just stupidity)

And then Adam just died, for nothing and with no consequences.

I mean, straight after Adam's death Lucifer is immediately trying to divert the viewer's attention: "who wants pancakes? :D". It's like the cartoon itself doesn't care that the first human, one of the most mysterious beings in vivzieverse and someone who badly needed a second chance and therapy, just died. By a very stupid joke too (Niffty didn't even have to stab him).

In short, Adam's plotline is a huge waste of screen time...

And while his final smile to Lute may give us some hints that there's something good inside Adam, but it's more akin to mockery. Since we were never shown that there's more to Adam besides "the main character's opponent=ultimate bad"

And of course Lucifer was retconned into a pathetic uwu boi, who's depression and "silliness" have overshadowed the fact that he practically doomed humanity to a life full of pain, suffering and surviving and took away Adam and Eve's home. We don't even get the slightest glimpse of what exactly Lucifer DREAMED of that was so important to force him to do the humans dirty. Meaning it was something abstract and not thought-through anyway.

(Free will my ass.. Adam and Lilith did as they pleased in Eden without the free will, Adam ordering his wives around, Lilith being able to defy him and Eve being able to disobey God. What good did "free will" from that fruit even do them? If anything, it only did harm to everyone)

And so now this daft egotist is being portrayed as this selfless harmless character only for the sake of contrasting the painfully obvious bad evil that Adam is.

That comes off as black and white writing, fit more for a childrens cartoon, despite the show critisizing Adam for thinking in black and white terms. Not a good look

[bibibbon]

Do you ever feel like the women of MHA barely matters in the story? Especially the heroes.

Short answer: yes! And this is a problem with a lot of shonen series MHA included which definitely ticks me off.

The thing is there are a lot of female characters yet nothing meaningful or strikingly iconic is done with them. In my opinion the most iconic and well written female character we have in the story is toga himiko (whose also a villain so that goes and adds a bit more to your point) and even with that her character arc is still flawed.

There's so many female characters and so much you could do with them. Class 1A has approximately 6 characters each of them can have interesting character arcs that never get developed. You also have very interesting female villains who don't get much attention compared to their male counterparts. Toga himiko the main female villain has a lot of her character time shared with ochako (which isn't like shigaraki or Dabi) and other female villains don't get much focus on like curious (I miss her) or lady nagant (she had a decent arc flawed but really good) oh and magne gets killed off before we know anything about her!

Heck horikoshi could even focus on the female parents like inko and Rei and give them their independent arcs where they find an identity and become better parents (get a redemption arc).

What about the female heroes who don't get much focus and are there to do one bad ass girl boss thing and leave instead of adding meaning to the story. This happens with star and stripes (the worst plot device character I have ever seen) or miriko. Heck it seems like horikoshi forgets a lot about midnight and she doesn't matter when it comes to the oboro plotline. In the end her death is meaningless and there for cheap tension, Mt lady doesn't get enough focus for her arc to truly hit and I honestly can't name any other female heroes.

Oh wait we have recovery girl whose actions are made a gag and not called out, or we have bubble girl who yikes (poor girl deserves better) or nejire who compared to Mirio and tamaki is an almost nothing character!!

Heck don't get me started on how horikoshi does some very questionable things with his female characters like what was that thing with toruu and drawing her naked?!?! Or having toga running around without clothes in the manga (like hello thats a child!!!) what about the endless mineta gags (its worse since horikoshi admitted to liking mineta and being a bit of a perv) heck we dont even talk about the explicit gore thats used with injured female characters like miriko.

In the end there's definitely more I have missed but gosh this is enough to show that horikoshi hasn't done a good job with the female characters (toga and lady nagant are decent) which is a shame since there was sooo much potential.

(Gosh I would add pictures but honestly I physically can't bring myself to post or search for them)

[gh0stswh0re]

christmas dribbles, hoe edition:

"you are freezing, soldier" (army (!) reader, inappropriate relationship with a superior, lost/stuck in the woods during a snowstorm trope)

"it's so hot when you talk back" (brat (!) reader, pissed off simon)

"relax your throat" (reader struggles giving softdom (!) simon a blowjob, insane amounts of unholy praise, incoming on 10.12.)

"you're drooling everywhere, darling" (cockdumb reader fails to realize that they are, well, drooling on simon, incoming on 10.12.)

"shit, it hurts so good" (pain play, kinda sub (!) simon, incoming on 10.12.)

"are you holding back? don't." (shy (!) reader, simon loves their moans a bit too much, incoming on 10.12.)

"were you just touching yourself?" (f! masturbation, army (!) reader, inappropriate relationship with a superior, humiliation + praise, mutual masturbation, incoming on 11.12.)

"you can sit on my lap" (army (!) reader, inappropriate relationship with a superior, in public, light teasing + under the table, incoming on 12.12.)

"sorry, baby, i've made a mess" (domestic + morning sex, handjobs, cum eating, incoming on 13.12.)

"how can you screw up this badly?" + "don't tease me" (putting up christmas lights together, height difference + tinniest bit of a size kink, light teasing, manhandling, simon's being kinda rough, incoming on 14.12.)

"i know, darling, i know. 'm right here, just breathe" (shy (!) reader, overstimulation, softdom (!) simon doesn't take "no" for an answer, previously established consent + a safeword, incoming on 15.12.)

"it looks better on you than it does on me" (domestic + morning sex, wife (!) reader wearing simon's clothes, incoming on 16.12.)

"why not tonight, sir? i'm even wearing something real pretty" (going out + in public, kinda bimbo (!) reader, incoming on 17.12.)

"i'm your lieutenant and will be addressed as such" + "shut the door behind you" (army (!) reader pushing her limits with simon, making him fuck her brains out, inappropriate relationship with a superior, incoming on 18.12.)

"i had this dream ... you couldn't keep your hands off me" (just pure filth, no plotline, fuck buddies trope, incoming on 19.12.)

"quit whining, i'll buy you new ones" (tights + lacey underwear, impatient (!) simon, clothes tearing, incoming on 20.12.)

"thought i told you - i don't know how to bake" (kitchen sex, bf (!) simon, beginning of the relationship trope, incoming on 21.12.)

"you still have a bit of my lipstick on your lips" + "let me do it" (bimbo (!) reader, who loves makeup x simon who pretends to be annoyed, but secretly adores it, incoming on 22.12.)

"try to stay quiet" + "we're in public, y'know" (army (!) reader, established secret relationship with simon, reader is tone deaf and sees basically no one but simon, incoming on 23.12.)

"i'll be home for christmas, i promise, baby" (a bit of angsty fluff, simon is away from wife (!) reader, incoming on 24.12.)

"i'd fuck you from behind, but then i wouldn't get to see those pretty eyes" (simon with shy (!) reader, who he likes teasing just a little bit too much, lots of dirty talk, incoming on 25.12.)

"your ass or tits, darling - the choice is yours" (tit fucking, incoming on 26.12.)

"you should wear red more often" + "gonna breed that pretty, little cunt of yours" (who would ever guess that maroon red is simon's favourite color? it certainly awakes a part of him you never knew before. heavy breeding kink, incoming on 27.12.)

"you take the bed - that's an order, soldier" (army (!) reader, getting ambushed and finding an abandoned place + only one bed trope, with a bit of an unusual twist, incoming 28.12.)

"watch your language, soldier" + "behave" (army (!) reader, simon overhears a conversation he's not supposed to and can't get it out of his head, incoming on 29.12.)

"don't you dare pull of another little stunt of yours" + "don't give me that look" (army (!) reader being reckless, nearly scaring simon to death, kinda mean (!) simon struggles with finding words to finally confess, incoming on 30.12.)

"fuck" + "already did" (pretty self explanatory, maybe a bit of voyeurism type of thing, leaving a random poor fucker (probably soap) traumatized, incoming on 31.12.)

[payphoneangel]

Supernatural: The Showrunner's Challenge

A writing challenge/exercise

I saw this post and thought it would be really fun to make a SPN specific version. Some of these I tweaked from the OG post, some are the exact same, and others are brand new. If you like this, please give the OG post some love for the creators great idea!!

Think you can write better than the showrunners of Supernatural? Let’s find out! This prompt is a writing exercise/challenge to create a ‘season’ of Supernatural via fanfic. Each chapter functions as an episode.

Prompt:

To start, think of what you would change about SPN if you were its showrunner. Would you scrap everything and start from new? Keep the series going with a new season? Pick a spot in the show and diverge from there? Ignore all the plot and play dolls with your favorite characters? 

Write a chapter that works as the Pilot of the show you want to see. At the end of each episode, roll a d12 to see what you must include in the following episode:

Roll a d12:

1. Everything at once: Roll twice, use both. If you get 1 again, keep rolling. Your only way out is to stop getting 1s. 

2. TMWWBK: Give every character in the previous chapter a number. Using a dice roll/random number generator, the character whose number is selected is now the main subject and POV of the next episode. 

For a greater challenge: include any character mentioned by name and any character with dialogue. (i.e. If Sam mentions Bobby, give him a number. If the waitress at a diner talks to Dean, give her a number)

3. Fan favorite: Your most recently mentioned character (or named object) is now beloved by the audience. You must give them a bigger part in the story, a special destiny, or an important new romance or friendship. 

If you roll 3 again; the character must get killed off to motivate their friends/allies/love interest or to serve the plot.

If you roll 3 a third time; either start over OR they come back from the dead.

4. High Concept Episode: Due to plot/MOTW/meddling gods/whatever, the characters are trapped in a different genre than usual. Roll a d6. 

High Fantasy/Sci-Fi

Apocalypse/Alternate Reality 

Time Travel/Time loop

Sit-com/Meta

Crossover/Stuck in a video Game

Slasher/Death Game

5. Filler episode: The next chapter must be completely low stakes and set you at ease. 

For a greater challenge: Flip a coin for each main character. 

Heads: Their filler is full of thoughtful inner world building and characterization

Tails: They are interrogating the milves (i.e. doing something silly and stupid)

6. Mothership: The next chapter must include the characters making references to/listening to/arguing about/having a feelings jam accompanied by... Classic Rock. 

Bonus: If you roll three 6’s in a row, introduce a Lucifer plotline (If you were ALREADY writing about Lucifer.... kill him).

7. Fallen Angels and Special Children: If the last character mentioned in the previous episode has special abilities, they lose them. If that character does not have special abilities, they gain them.

8. The Focus Group: The execs created a focus group to see if audiences would like more romance in the show. Flip a coin to determine the outcome:

Heads: The audience is into it and so are the execs! The next episode needs to involve a deep, sappy confession of either love or admiration between two characters that have not previously been romantically involved. 

Tails: The audience is into it but the execs aren't so sure... The next episode needs to introduce a budding romance between two characters that is only ever alluded to, but never stated outright.

If you roll 8 again:

If you got Heads on the previous flip: The characters have a messy breakup/divorce.

If you got Tails on the previous flip: One character dies right after outright stating their romantic feelings for the other.

9. Familiar Faces: A character from a different season is (re)introduced and becomes plot relevant. (ex: if you’re writing early seasons, include Kevin, Rowena, Ketch, Dagon, ect. If you’re writing late seasons, include Rufus, Cassie, Ava, Bela, ect.)

For greater challenge, assign characters a number and select via dice roll OR

Use a tumblr poll to have followers select

10. J2 Fallout: The two most recently mentioned characters' actors have, IRL, gone through a VERY messy divorce or friend breakup. You cannot put them in the same scene, but they must both remain relevant to the show. 

If you roll 10 again, they reconcile. 

11. Deep Analysis: Roll a d6. The next episode must include the theme of:

Grief

Bodily Autonomy

Family don’t end in blood

Family is Hell/Absent Fathers and Absent Gods

What makes a monster monstrous

Love

12. Are we ever really done? The most recently mentioned character's actor has decided to leave the show. Kill off their character. 

If you roll 12 again for another episode, the character returns.

There's a few bonuses to a character returning, so if you so choose, Flip a coin. 

Heads: the actor chose to come back and the character looks the same. 

Tails: the actor did not reprise their role so the character has a "new vessel." 

The other bonus flip:

Heads: upon return, the character is on the side of the protags 

Tails: upon return, the character is working against the protags

Have fun and happy writing <3

Please feel free to tweak this game however works best for you. And if anyone does actually end up writing and posting something based off this, PLEASE tag me bc I wanna see lmao

Tagging a few writing buddies who might get a kick out of this: @kerryweaverlesbian @shallowseeker @bloodydeanwinchester @gryptids @kingflups

[zephyr-rat]

Arcane Season 2 Act 2 Thoughts: Shockingly Cheap

The more I think about Arcane season 2, act 2, the more cracks I see in the story. To me, it's definitely the weakest of the 5 acts of Arcane we have seen. I do have my complaints with the general canon and direction, but I don't believe such criticisms are that helpful. I'll make another post concerning what canon Green Giant Saga ends up following (My Zac/Twitch fanfic series) that will have those complaints.

Instead, I'll just focus on my biggest problems with act 2

Characters Exist as Plot Devices for other Characters

There just seems to be a lot of characters that just act as props. Isha, a small non-verbal child with death flags everywhere, just exists to force Jinx to turn a new leaf. Warwick just exists to provide a potential happy ending for the Warwick/Vi/Jinx family so that the writers can take it away in emotional gut punches. Orianna (I think), a dead kid in a capsule, just exists to make Singed more sympathetic. That whole warden squad with Maddie, fish-guy, and big-guy? Maddie just exists to be Caitlyn's conscious for a scene and Big-guy just exists to show how much Vi deteriorates after the events of Act 1.

This in of itself doesn't need to be a bad thing. If you want to look at it in a very utilitarian, doylist perspective, all characters exist to tell a cohesive story with a clear theme. Not all characters will get the spotlight and must simply exist to support other characters, especially in a story with only 9 episodes, but it's getting very annoying how seemingly important these characters are to the plot when they're given little depth.

Isha and Warwick, to me, are the worse offenders. Isha who plays a significant role in redeeming Jinx, is a non-verbal kid with little backstory and interiority other than she wants Jinx to be Zaun's hero. She just exists to be so innocent and cute that even Jinx sympathizes with her, but with so little depth, she might as well just be a teddy bear. (I'd also point out that this does a disservice to Sevika who should've been more in Jinx's corner but just disappears from act 2 after episode 4... ugh..)

Warwick feels more like they revived Vander's corpse for more tragedy points. They really hammer home how much Vander wanted to take care of Jinx and Vi as kids with 2 big music video sequences. Vi even thinks about living in Viktor's cult town as a happy family, a happy scenario that exists so that the writers can gut punch us with the tragedy that's about to come. Season 1 had the sappy dad too, but what made it work for me was that it's combined with his reluctance to advocate for change in the undercity and his struggles of being a parent in grimdark capitalism as he tries to guide Vi to be a better leader. But now, with all of his rank and the context stripped down from him, he's just the sad dad character that gives the character fake hope.

So when Isha goes to blow Warwick and the attacking Noxians up with an overloaded gun, destroying the hopes of the main characters, I didn't feel emotional or sad or anything, because ultimately they just felt more like props to me instead of actual characters, and this is a big issue for act 2. If act 1 belongs to Caitlyn, then act 2 belongs to the Jinx/Vi/Warwick family and those 2 characters are extremely important to that plotline. Them being props, flattens the impact dramatically and makes it cheap.

If you felt very emotional during that scene, good for you! I'm happy you were able to be that invested. I'm just not one of you.

Less Political Intrigue

Part of what made Arcane really cool was that it highlighted the politics of Piltover-Zaun in a way that made the setting one of the main characters. You totally understand why Zaun acts the way they do and why Piltover acts the way they do and seeing the characters get entangled by that setting is deeply fascinating. It's part of the reason why Arcane is a great introduction to the Piltover-Zaun region. I'm also just a big fan of the setting and the political discussions you can have with it. (Green Giant Saga ends up doing this a lot)

And season 2 does continue that with act 1 and even episode 4. Ambessa making Caitlyn a dictator by exploiting her grief? Great! Mel trying desperately to do political damage control to avoid a war? Cool! Making Jinx a political figure to unite Zaun around even if she doesn't feel comfortable with it? Awesome!

But then with episode 5 and episode 6, the role of the setting diminishes. We start focusing more on the Warwick problem separate from the setting. Most of episode 5 takes place in a mine and most of episode 6 takes place in Viktor's cult town in the sumps, an isolated bubble away from Piltover-Zaun. Mel, the main figure leading that political aspect, got teleported away by the Black Rose. There are specs of it there like Singed agreeing to track down Warwick and make weapons for Noxus, but it doesn't play as large of a role like in previous acts, and it just can't. Not when we need to bring Warwick in since the act belongs to him. However, I already mentioned why he felt cheap, and the lack of integration with the setting, especially compared to previous acts, makes it feel all the more cheaper.

Now I will still say, Arcane season 2, act 2 is still good. It never bored me and it did keep me hooked on the screen. I just wouldn't call it great like I did the others acts of Arcane and the more I look at act 2, the more cheap it feels.

[aingeal98]

Thinking again about the al Ghuls and how DC deliberately tanked it's own writing to turn them into ooc cartoony villains because the anti Arab racism post 9/11 was just too potent for them to resist. You take a villain whos love for his family is one of his core characterisations, he's sexist and evil and runs a cult but he forgives his daughter every time she betrays him to help Batman. He lost his godson fighting nazis in world war two, he wants Batman to be his heir, to be family. Because he respects Batman's mind.

And DC looks at this and gives him a Jewish daughter who Ra's left to die in a concentration camp because in Death and the Maidens he found the Nazis to be useful allies. Nazis, who not even Joker would team up with. Who Ra's had talked about fighting against in older continuity. Whoever came up with that plotline needs to never work in comics again.

Nyssa tortures Talia into insanity and turns her into a willing member of the LoA who believes in Ra's vision for the future. Because it wasn't bad enough to assassinate Ra's, every single Asian character in DC had to be one dimensional racist evil villains. It's no coincidence this was the time period they tried to make Cass Cain evil too.

In Cass's case, the backlash to the awful writing forced them to retcon it. In the al Ghul's case, Morrison used it for Damian's story as if evil Talia and evil Ra's who didn't care about his family at all were always canon, and not just a disgusting racist retcon. And now it's the go to characterisation for them. Talia drugging Batman is still what a lot of dc fans assume is canon, even though it was retconned. And there was no reason for it to exist in the first place other than racism.

For DC to actually fix the al Ghuls, they'd have to acknowledge that Talia was brainwashed into being evil, and come up with some retcon for Ra's oocness. The Lazarus Pit is right there as an excuse. Robin Son of Batman managed it with Talia.

But instead DC seems to be working off the impression that their shitty writing for the past 15 years was the character's natural state. It's why "holding Talia accountable for her crimes" doesn't work any better than holding Cass accountable for all the terrible things she did during the garbage evil era.

DC needs to hold itself accountable instead of the characters. More of Ra's Talia and Damian bonding. Ra's runs a cult he is not a good person and it's a good thing that Damian got out but if you can't show that without relying on racist stereotypes and 00s character assassination then why are you even a writer lol. More clarification that what the Ra's and Talia did was not in character for them. Less "I helped torture baby Damian as part of his training but I felt really sad about it." That's never been what gave the al Ghuls their complexity.

Basically, stop trying to add nuance to the racist post 9/11 al Ghul characterisation and just give us back LexCorp era Talia and pre DATM Ra's. You're one of the top two comic book brands in the industry surely you can find someone who can make Damian's backstory work without destroying the rest of his family in the process.

[kurigohan0909]

Rewatching Link Click: Easter eggs in your noodle soup?

So I've just finished watching both seasons of Link Click/Shíguāng Dàilǐ-rén, which means that obviously I'm watching it all over again. What did you expect me to do, sit around waiting for Bridon arc while the Bilibili official account taunts us with replays??

Besides, Link Click is one of those dishes that is best served twice. The early episodes are packed with hints and foreshadowing that only become clear once you've gotten up to date, so I've made it my mission to catch 'em all.

You don't say.

It's well known that certain early mini-arcs (for instance Chen Xiao's basketball match, and Doudou's kidnapping) have implications for the larger plotline or at least contain important exposition/character insights that the story would not feel complete without. There are also several that get written off as filler, or are generally considered to not have any purpose beyond familiarising the audience with the characters and setup, and lulling you into a false sense of comfort before everything goes to shit. Episode 2: Secret Recipe, AKA the Noodle Lesbians episode, beloved as it is, tends to fall into the second category.

Or does it?

On a rewatch, I still don't think it does anything to advance the main plot. We don't even really know where it fits into the timeline, because we're never told what day it is and Lu Guang's watch is never shown on screen (I'll get around to a longer analysis of this another day). However, I'm instead inclined to believe that it's one of the most important episodes in the show - if not THE most important - because it's essentially an allegory for the story of Cheng Xiaoshi and Lu Guang, and gives you a bird's eye view of how the relationship between them is going to develop - which, as you know, is what the show is all about. And the fact that it's not situated in a specific time, in a show that cares heavily about timeline construction, makes it better.

The episode starts with this quote from German photographer August Sander, who believed that, through photography, he could reveal the characteristic traits of people. "The portrait is your mirror. It's you." It's pretty explicit, when you think about it. This episode is a mirror of the entire series, specifically of its protagonists.

Moving on. The episode's storyline is quite simple: two college "roommates" start a noodle shop together, and as time passes, they drift apart and eventually fall out as their priorities change. Yu Xia, the business-oriented one between them, wants to get hold of the secret ingredient used by Lin Zhen, to whose cooking the shop attributes its success. Does Yu Xia really want to steal the secret recipe? Or is it just one of the many things that the quieter Lin Zhen keeps hidden from her that she desperately wants to know, along with everything that went wrong between them? Your guess is as good as mine. Either way, there are lots of indirect parallels between Xialin of the noodle shop and Shiguang of the photo studio, even if for now they're very distinct individuals with their own personalities and struggles. It does, however, give some indication of what's to come.

This question isn't purely rhetorical, as we find out in the very next arc, where Cheng Xiaoshi has a fight with Lu Guang over letting his client's loved ones perish in the Wenchuan earthquake. Even if they eventually come to a consensus, they have fundamentally different life philosophies and approach their missions in very different ways. Cheng Xiaoshi is a hyperempathetic idealist who keeps trying to use his forays back into the past to fix his clients' personal problems, while Lu Guang remains utterly indifferent and staunchly against interfering, even in life-or-death situations. Which turns out to be a facade, because we later learn that he's just as much of a meddler as Cheng Xiaoshi - except he's focused on a singular, selfish goal, which is to keep Cheng Xiaoshi alive at any cost.

Let's go back to the noodle shop. After ten years of running the business together, it becomes clear that the ladies' aspirations are no longer compatible. Yu Xia has big plans for the shop. She wants to broaden their customer base - for profit, of course, but also so that more people can be made happy by the chance to taste their noodles. Lin Zhen's dreams, however, are on a smaller scale - perhaps only on a personal scale. Throughout the episode, it seems that she only really cares about making noodles for one person.

Sound familiar?

At the risk of digressing, it needs to be said that Yu Xia and Lin Zhen are absolutely very much a WLW couple. This isn't bait, it's elegant and really quite unsubtle queercoding that says 'to hell with censorship' loud and clear. Honeymoon jokes, the taxi driver assuming Lin Zhen had fought with her husband, and Lin Zhen's very bold attempts at flirting... we see you.

More to the point of this post, I think it's important to point out that Lin Zhen does not actually care for too many people other than Yu Xia. She's all worn out from making noodles for customers, but she forgets all about that when it's time to make a bowl for Yu Xia. She also keeps her special ingredient - which is one of the secrets she shares with Yu Xia, as we find out - highly guarded. She's never going to let these pesky reporters in on something so intimate.

Why is this important? Because, as it turns out, the episode's storyline - and Lin Zhen's motives - are all about saving Yu Xia.

We learn that the secret ingredient is a local specialty from Yu Xia's hometown. Lin Zhen has been using it for years, keeping the taste of home alive while Yu Xia's drifted further and further from home to the point where she can no longer remember where the ingredient came from. At the end of it all, when Yu Xia returns home, she finds Lin Zhen there waiting for her. Lin Zhen, mind you, does not hail from the same town. The girls met in college. It's home to her simply because it's Yu Xia's home.

This comes directly after a pilot episode that establishes the contrast between urban isolation and rural/familial warmth, through Emma's eyes, and in a show that continually reinforces the concept of longing for home and loved ones. By forcing Yu Xia to reevaluate her priorities, Lin Zhen manages to bring her back home - which is a place that includes herself.

Perhaps it's too early to say. But to me, it's a pretty neat thematic parallel of Lu Guang's solo quest to save Cheng Xiaoshi from death; which is intertwined with a greater goal of giving Cheng Xiaoshi a home, one that is safe and secure and surrounds him with those that love him and are there to stay.

But in the process of achieving this, one of his biggest obstacles is Cheng Xiaoshi himself - his insistence on interfering with the timeline so that Lu Guang can't predict events with certainty, his objections to the way Lu Guang does things, and the definite resistance Lu Guang will come up against if Cheng Xiaoshi learns about his plan. Pretty much every minor mission they undertake is a rehash of the same argument; Cheng Xiaoshi wants to use their combined powers to make a difference to other people's lives, and Lu Guang just has one goal in mind which means that he's going to ignore absolutely everyone else.

Notice how Yu Xia's looking to the future, while Lin Zhen's dream is to go back to a point in the past? Neat.

And when they finally part ways because it's clear Yu Xia is not going to support Lin Zhen's goal? Yu Xia asks her where she's going to go after they part ways, and Lin Zhen says:

I wonder where we've heard that before.

And if you need any more proof that this episode is in fact intended to be a mirror, do consider:

Their seating positions are mirrored too. Yeeeeaaaaaahhhh.

In conclusion: if this allegory is to be believed, then trust that Lu Guang will eventually succeed in his mission and Cheng Xiaoshi will find his way home to him. It'll happen, guys. In the meantime, at least our beloved noodle ladies will be living a peaceful life out in the countryside.

Since I don't know how to shut up and this website seems to be giving me infinite space to yap, let me include some more details about this episode that I found cool. There are so many.

Lin Zhen and Lu Guang are both shown while this line is being said. What with all that the fragrant flowers represent, it makes you think about what these characters' best memories might be and how much they treasure them.

This is such a tiny detail that you'd almost definitely miss it on the first watch, and it seems insignificant - until it isn't. When Cheng Xiaoshi hops into the girls' picture taken during their college days, he screws up and suggests they'd be better off dabbling in tech stuff like apps or intelligent management than running a noodle shop. Lu Guang makes him quickly eat his words, but they seem to have still struck a chord with Yu Xia - because later we see that she works over years to integrate an intelligent supply chain management system into their business. In fact, one of the reasons for Lin Zhen to alienate herself from the business is because she feels like it's gotten too techy and lost its human touch. Not really fair considering it was her own idea, is it?

I mean. This is probably a stretch. Digitization is pretty inevitable for big businesses nowadays, so Yu Xia, being as enterprising as she is, might have gone for it whether Lin Zhen suggested it or not. But it's interesting to think that it might be Cheng Xiaoshi's tiny alteration of the past that unfurled outwards like a hurricane from the beating of a butterfly's wing and catalysed their falling out. Especially because these kinds of bootstrap phenomena very much occur in later episodes and are a core feature of Link Click's time travel model.

Some suspicious behaviour on Lu Guang's part. He's quite certain there are no useful clues in the last picture Yu Xia and Lin Zhen took in front of their shop, despite it being the only one taken by Lin Zhen (seriously! you could go to her house, look through her phone, the possibilities are endless!) and the fact that this is the photo Cheng Xiaoshi did end up solving the mystery in, thanks to the ticket stubs he found in her purse (see?) Secondly, they outright miss a picture in the envelope - the most important picture of all which would have given them the answer right away, since this was when the fragrant flowers were first used. Not your best work, Lu Guang.

...or is it? Lu Guang is pretty meticulous, and it's unlike him to slip up in such obvious ways. He's also skilled at slipping things back into envelopes when he doesn't want them to be seen, as we know. Could it be that he didn't want Cheng Xiaoshi to solve the mystery? But why? Maybe it's metaphorical, like so much else of this episode: he doesn't want Cheng Xiaoshi to uncover his true intentions. The fact that all this is ultimately for his sake.

Interestingly, Lu Guang was very dejected at the idea of them seemingly being out of luck - they'd tried so many times and failed to fulfill the mission. Was he, perhaps, thinking about another mission he'd hate to fail? Anyway, it falls to Cheng Xiaoshi to cheer him up and give him hope for another try, which he accepts, with a small but genuine smile. My heart.

If you've scrolled this far, I'm glad you enjoyed my ramblings! I must say I don't know much about how Tumblr works so apologies if I mess up on formatting or tags, but I'll probably get the hang of it soon enough. I'll also probably end up enjoying Tumblr more than Twitter since it allows me unfettered yap space and won't feed my writing to the machine (yet). It's late and I should probably stop stop thinking bout it around now... but look forward to more random ramblings and thank you for reading!

[muzzable]

Remember how people who didn't watch Miraculous anymore thought that Shadybug and Claw Noir were an elaborate fandom joke? I bet we could do that.

We could totally Goncharov a wild, ridiculous Season 6 plotline, especially in the spirit of April 1st.

Here are my ideas:

Early on in the season, Adrien/Chat Noir spends a few episodes impersonated by himself from the future. The fact that both have been replaced almost leads to his identity being exposed, but future Chat Noir shows up in the same room as present Adrien and so now people continue thinking he can't be the same person.

Because Cerise has ditched the Lila persona, all three of Lila's unrelated mothers simultaneously report her missing. They eventually join a support group for parents of missing teens, and come to realize they have the same daughter.

Alya and Nino break up. They get back together later in the season. Neither is particularly relevant to the season's overall plotline, and both events happen off-screen with only a passing mention.

In a surprising twist, Cerise is unceremoniously killed off mid-season, and her role as Butterfly Miraculous user is taken over by someone else. The rest of the season is a time travel plot where they try to stop this event, as somehow having Cerise as the villain is better for everyone than this person.

Marinette learns from Lila's moms about her wig-based identities, and becomes increasingly paranoid. She begins trying to yank peoples' hair off, convinced that Cerise faked her death and is in hiding as someone she knows. This culminates in Marinette discovering that Nathalie is actually bald. She immediately drops the search and never mentions wigs again.

It turns out that the Chat Noir that replaced Adrien earlier in the season is from later in the season, as he was trying to prevent Cerise's death.

In the finale, the new Butterfly wielder gets desperate, and orders Nooroo to use his powers, not knowing the consequences of Kwamis using them without holders. This leads to sporadic, unpredictable akumatizations/deakumatizations all throughout Paris. Shockingly, it gives us our first real akumatized Marinette, but it only lasts about a minute.

All of the time travel shenanigans to save Cerise's life ultimately lead to multiple copies of her around Paris. The main one continues being the Butterfly wielder. Three stay with Lila's three moms in sort of a Full House/Three's Company situation, becoming the Lila triplets. Having nothing else to do, the rest become background extras for the show, where they copy and paste the same model but with different hairstyles and eye colors.

[th4tsj4zzy]

hoo boy im boutta get controversial

only 50 notes in and im starting to post stuff abt hsr controversy >:) this’ll be about the sparkle/ratio being racist controversy for the first + second part of hsr’s trailblaze mission for penacony

TW: slavery, slurs, racism, “death” (suicide..? 2.1 hsr quest makes this make sense) spoilers for penacony’s 2.1 quest below the cut

ofc, when sparkle was degrading aventurine for being sigonian, i reacted how a lot of people did and was like “cheese and rice, thats kinda racist dude, wtf-“ i was pretty worried bc hoyo’s had a history with not handling racism in plotlines well (see: eremite world quest in genshin) but i wanted to stay optimistic bc theres a different team working on hsr and maybe theyll be better at handling racism in plot. but honestly? after playing the second part of the penacony quest, i really think that they handled the entire thing pretty well.

probably 50% of penacony’s 2.1 quest was aventurine’s backstory, how being enslaved affected him, his family, and the culture of the avgins/sigonians (specifically the latter). his “all or nothing” nature clearly reflects the fact he’s used to betting everything (despite being paranoid about it since he quite literally lost everything before being taken in by the [pretty] ipc [woman, jade]) bc it makes him seem confident and gives him an image of carelessness, benefiting him in the long run of scheming. the only reason im able to draw this many conclusions about him is because of the amount of character development they give him in the quest.

ofc, im not trying to say that sparkle’s (and “ratio’s”) racist remarks were justified; to put it lightly, they’re leaning into a darker shade of morally grey, even without knowing their purposes for saying such stuff. however, i do think that them being racist to aventurine is a major part of the world building for HSR. him being on the receiving end of their criticism makes us suspicious of everyone else, but also makes us root for him a bit, which helps balance out the scales of distrust and/or dislike the viewer should have of all of the characters. in the beginning of the quest, aventurine’s probably receiving a lot more of the dislike/distrust than the other characters, so we need to at least find a reason to root for him if the writers want us to understand his schemes.

also, sparkle being racist to aventurine for being sigonian and him persisting through all of the hardships his plans and his past bring (despite 85% of it being for the ipc and the other 15% for the mere chance to see his family and find the truth, the latter mattering more than the former) is a narrative that brings tears to my eyes. it resonates with me as a minority race, and im sure many others can understand why.

sure, sparkle used a slur for the real life alternative for sigonia and ratio brings up his past as a slave. we all recognize its not right for her to do that and that the writers are pretty harsh for writing the slur in, but its just the same way in the real world. the writers are just showing us reality in a video game. death and murder and enslavement is really harsh that also reflect the real world, yet they also include it. are we really gonna act like saying a slur is above killing people?