#have to think about the greater good and the crew as a whole and how much danger is acceptable etc etc.

[bumblingbabooshka]

[Tuvok & Janeway: Control, Distance, Duty & Connection.] Sources: St Voyager Transcripts / Mitski 'First Love Late Spring' / Disco Elysium

[nobodyfamousposts]

Scarlet Lady Essay: Frightningale

Yet another essay for @zoe-oneesama. Because you deserve it.

I’m not going to bother with a compare/contrast of canon vs Scarlet Lady Frightningale because Frightningale in canon was a pretty forgettable episode. Akuma was lame. Setup was wasted. And it’s removal from the series would lose nothing of value.

So instead, I'm going to focus primarily on the Scarlet Lady version of Frightningale and what it does that makes it memorable.

I guess to start with, I should make it clear that I’m not a fan of shows being lazy, especially when they display a lack of planning or consideration of their story and characters. And perhaps one of the greater indicators of this issue is when a series suddenly realizes they they neglected multiple plot points until it’s too late to give them all the focus they warrant so they end up shoving all of those points into one episode and try to present it like it’s supposed to be an adequate resolution of all that buildup or in any way intentional.

Penalteam was that episode for Miraculous. They had the “temporary heroes” setup going for them but then wasted so much time on filler like Frightningale that it seems like they honestly forgot about it until they were reaching a designated end point and they realized they still had four more heroes they were supposed to introduce. Whoops? Ah well, just introduce them all at once. Not like anyone will care!

And when you treat most of the cast like they’re all as shallow as a puddle, I guess that’s true.

The thing is, when you have a setup where there is a running theme of every person in a specific group getting their own episode/chapter to detail their issues and how they get a power up, it’s going to stand out whenever one of them doesn’t. Especially when that one or more are forced to share their limelight episode. 

That’s not to say you can’t do it, but it’s bound to get attention if you do. It reflects poorly on the writing. It shows whom the “favored” and “unfavored” characters are. And it displays the issue with pacing—namely that it’s next to nonexistent until it hits you with the force of a freight train.

But can it be done and be done well? Is it possible to pull off such a thing and have it make sense and fit in lines with the characters?

Well, yes. Off the top of my head, I can think of two different ways to do it to make it work.

And Zoe did both of them.

If you look at Scarlet Lady as a whole, you’ll see a conglomeration of characters—each with stories and arcs attached. They have personalities. They have goals and problems and their own highs and lows. One sign of good writing is that some focus is given to highlight these other characters as people. Individuals in their own right with lives outside of the main characters or situation.

Miraculous doesn't really do this.

Scarlet Lady, however, does. Because contrary to the title, Scarlet Lady isn’t just about Chloe.

It isn’t even just about the heroes.

It isn’t just about Chloe being horrible. Or Marinette being in love. Or Adrien being in desperate need of a hug and a nap. Because while the story is centered around them, it isn’t solely about them. Other characters get focus and growth and their own arcs throughout the comics.

But the big two—the BIGGEST two with arguably the most depth and most growth and quite frankly the best storylines out of everyone in the entire series?

It’s Sabrina and Lila. And their individual stories have led up to this.

As such, this episode—which was mostly filler and all around forgettable in canon, matters here.

It’s where Sabrina and Lila reach the culmination of their respective character arcs. 

Yes, it’s when they both get to become Miraculous Heroes and meet their own kwamis, but it’s more than just that! They both hang out with the girls group as full members of the crew, getting to take part in a music video together. It’s also where they both get to stand up for themselves and the city at large while calling out Chloe and Scarlet Lady. This is what their storylines have been building up to and where their growth really shows.

Sabrina started out as Chloe’s minion same as canon—albeit with more attention to her feelings and her responses, no matter how seemingly small, allowing her to feel more like her own person. And through this focus, we got to see her open up more, pull and eventually break away from Chloe and her influence, and over time stand up for herself and try to establish herself both with the class and as an individual.

Lila started off as a liar and manipulator, selfish and self centered, much like canon. Unlike canon, her lies are tied to her issues, noted to be poorly thought through, and give her more introspection as a person. After the lies are revealed, she’s not “redeemed” so much as she is “accountable”, and it doesn’t change who she is. She remains selfish and certainly far from being considered “good”, but she’s letting people in past her walls and masks in a way she hadn’t been able to before.

Both of these things? Figuring out who you are and letting people know you for who you are? They’re incredibly hard. And a lot of time was devoted to both of their journeys along the course of the comic.

Sabrina’s arc was about her figuring out who she is on her own. Outside of Chloe and her previous role of being a follower and lackey. And sometimes it feels less scary to stay with someone toxic than to be alone and facing the unknown. We see it in the way she tries to put herself out there afterwards, reaching out and risking rejection and just figuring herself out. Even or perhaps especially with those she already knows and has a less than positive history with.

And we still see the struggle of her view of herself in this episode. It was in the way she was upset that she legitimately tried to help and it still resulted in bad things happening. And it was also clear when she calls herself a “sidekick” to Marigold after the day was saved, as if it’s a role she still sees herself as and one she struggles not to fall in to. Over time, we’re seeing Sabrina learning that she doesn’t have to be attached or subservient to someone else to have an identity or be accepted. 

Lila’s arc involved her figuring out who she is with people. Outside of the lies and manipulations she creates, the masks she wears, and the identities she crafts to make people like her. The “real Lila” is far from the best person and arguably not even a good person, but she also doesn’t have to be for the others to accept her as the still somewhat bad influence she is. She’s still very much selfish and flawed, but she’s less inclined to hide it or treat it like something that needs to be hidden. And isn’t that a common lesson? That it’s better to be liked for who you are than to force yourself to be someone else to be liked?

And at the same time, even with being less than a fully good person, she’s showing that she can still find better ways of acting that allow her to help others rather than hurt them or serve herself. She still hates Scar, but rather than working with Hawk Moth to kill her and risk dooming Paris and the world, she’s instead working with Alya through more legitimate (and legal) means…and hitting Scar where it hurts most. She and Adrien may not be friends, but rather than try to punish him for not going along with her, she’s instead rescued him, putting herself on the line—something that the former Lila wouldn’t have considered doing and one that canon Lila wouldn’t be capable of. Even if she’s motivated by pettiness or self-interest, what would have been straight up revenge on someone who upset her has grown to be something that is working in everyone’s better interests.

Both Lila and Sabrina hid themselves in different ways and for different reasons. So having them both assert themselves and call out both Chloe and Scarlet Lady is a show of their growth and overall a huge deal. It’s not something either of them would have done at the start of the series. Sabrina, because she was a “yes man” who wouldn’t dare to argue with Chloe and Lila because she wouldn’t risk openly doing something to make herself a target. 

And now boom! Look at them both! Lila stepped up to openly and publicly denounce Scarlet Lady as not being a hero for real reasons that aren’t just about herself or her feelings—complete with receipts! The girl did her research, noting incidents from before she even came into the picture. Then follow up with Sabrina standing up against Chloe’s machinations and dismantling Chloe’s main source of power: her father. Even better, she’s using logic and knowledge she would have as a former ally of Chloe’s who would know her tricks, taking her former friendship with Chloe and using it against her.

And on top of that, each of them are given the Miraculous by the person they wronged in the past. Marinette to Sabrina and Adrien to Lila. Especially in Lila’s case, it says a lot that they’re trusted. That shows narratively that even with their mistakes and bad choices and continued struggles, they still can move forward—not necessarily to find redemption, but to find themselves and be their best selves.

This is why it makes sense for them to share this episode. It’s also why both of them speaking up matters. They are both publicly confronting their greatest foe, and the fact that their foes are really two faces of the same person further highlights this. 

So they both have issues with the same person, are dealing with forming their identities without catering to others, are working out how to have/be friends, were formerly not the best of people, and have a fear of rejection. As such, this isn’t just their obligatory hero episode, this is what their individual stories have been leading up to. Almost like they’re two sides of the same coin. And the comparison between the two helps them both shine.

And speaking of shining, does anyone remember how the all girls team up didn’t get a chance to shine in canon? Zoe sure did.

I have a whole list of problems I have regarding Party Crasher, but perhaps number seven on that list is that the boys got to have an all male temp hero team up episode while the girls didn’t.

In fact, by this episode in canon, only Alya, Chloe, and Kagami actually got to be temp heroes.

To be fair, only four of the guys out of seven in canon got to be part of their particular event in Party Crasher, leaving out Ivan (who often tends to get overlooked) and Nathaniel (who has had a precedent of just literally disappearing from the episode). But originally, part of the appeal of Party Crasher was that the focus was supposed to be on the male classmates and getting to see at least some of them being part of a team against the akuma.

Why then didn’t we get an episode like this with the girls? Or at least something LIKE this?

Frightningale became that episode. And if any of the episodes were to do it, it makes the most sense for Frightningale to be the one.

All of the girls were together to take part in this event. So Zag would have had the perfect excuse to include them all in the fight or just have the girls do something to help even as civilians. I mean, we’ve had episodes do this before. Max in Robustus. Nathaniel and Alix in Reverser. Luka in Captain Hardrock. Let the civilians show their heroic traits even before they become heroes. It’s not a Miraculous, but it’s still giving them focus and expanding on them as individuals.

Instead, canon Frightningale was a filler episode. And not even a good one. For an akuma who forces people to sing or dance, it’s a waste that they just had the heroes spend the whole time rhyming. A waste of writing and talent. I mean, have you heard Christina Vee sing? If there needed to be a musical episode, I would think that the akuma who forces people to sing would certainly warrant it! At least more than it’s Christmas and they sing just cuz.

So this is yet another thing that Zoe improves with the Scarlet Lady version of this episode. Giving us the all girl team up episode so many of us have long wanted and getting to see all the female heroes together at last. 

And with this, we get the full roster of friends-turned heroes.

Except for Alix. Poor, poor Alix.  ;_;

Your day will come.

In this way, the end where Clara goes a different direction with her music video feels less like a half-assed fix to a half-forgotten plot point and more like something that was built by everyone involved. I don’t know about the rest of you, but given Clara’s excitement over the all girl band playing and Pigella’s gift showing Clara an idea for her video, it highlights the focus on EVERYONE being part of this—both the video and the episode itself. It kind of comes off as a lesson of its own about teamwork and giving everyone a shot rather than focusing specifically only on one or two specific individuals.

And isn’t that what separates the heroes from Scarlet Lady?

But there’s a third important aspect of this episode.

This is the episode where Chloe is smacked in the face with Scarlet Lady’s falling popularity. 

Let’s remember that at the start of the comic, Scarlet Lady was fully and widely considered THE Hero of Paris. She was beloved for doing nothing and it was a point of frustration for Chat, who actually was having to pick up her slack. Initially, there was nothing he could do because him being the only real hero among the duo meant he often couldn't stick around after akuma fights to prevent Scar from telling "our story". In addition, he didn’t know who she was or who chose her and why. Then even when it was clear her getting the Earrings was a mistake, for a lot of the first couple seasons, she was so popular that they couldn’t just take the Earrings away from her lest they risk backlash from the rest of the city. It’s a backlash that seems increasingly unlikely as more and more people get to see her behavior and callousness firsthand.

We’ve seen hints of it in other episodes, but none of them were so blatant to Chloe that she couldn’t ignore it or shrug it off or otherwise make excuses to protect her ego.

Prime Queen wanted to focus on Marigold and Chat Noir for their “romance” to try and boost ratings. Alya and Lila made some snarky comments, but Chloe could easily dismiss them both. Nadja also made a comment that nobody cared about Scarlet’s love life, but a lack of interest in her love life isn’t a lack of interest in herself and Chloe despises both of her “sidekicks” and wouldn’t want anyone trying to pair her with them anyway. And Nadja reassures her that they’ll focus on her after they’re done with Chat and Marigold. So yes, she can dismiss that as well.

Reverser has Chloe faced with both of her identities are made as villains in art and a story. However, she clearly looks down on Nathaniel and Marc barely registers to her. So she can dismiss them.

Look at Despair Bear, the Intermission, the interactions with the various other heroes, and the fact that only Chat Noir and Marigold are privy to the Guardian’s secret existence and allowed to pass out other Miraculous. Much has been shown of the other characters being less than impressed with her, snarky towards her, or showing the process of how they discover the truth about her and how she actually handles akuma attacks…namely in that she doesn’t. And Chloe can dismiss all of that because to her, none of them really matter to her.

But Chloe can’t dismiss the fact that a renown celebrity dedicating a music video to the “Heroes of Paris” isn’t including her. Bad enough her sidekicks are taking center stage but she’s not even in the music video at all?

And when someone she despises calls out the reasons why she’s not a hero in an openly public setting surrounded by a multitude of people who all agree with her? You could say it’s insult to injury. But some would say it was a long time coming.

Some Rando: Scarlet Lady sucks! Alya: Marigold and Chat Noir do all the work, not her! Kagami: She’s barely even necessary at this point. Clara: This video and song are to celebrate hope and love. And Scarlet Lady lacks both when push comes to shove. Chloe: ARGHHH! WHATEVER!

It further shows the turning tide of public opinion against Scar. What was once a trickle has grown into a wave, and now Chloe is forced to acknowledge her image and status aren’t as ironclad as she thought. Sure, she could denounce Lila as a liar like she’s done before, but Lila is bringing up instances that Chloe can’t deny: being late (as she’s just plain been a no show to several fights), endangering civilians, and being caught live on camera being willing to let someone die in a particularly horrible way because it’s easier.

This is the episode where it’s not just people seeing Scar is horrible, but acting on it and letting Chloe know they know she’s horrible. It’s reached the point where Chloe can’t just disregard the claims or discount and ignore her critics. And we’re seeing Chloe starting to lose control as a result. To the point she has to force her dad to ruin a previously sanctioned event in what has to be one of his most flagrant displays of abuse of power to date just to shut down her detractors.

And even that would come with more consequences for Chloe if it had been allowed to continue. Sabrina herself points it out that Clara is very popular with a lot of fans—people who would be aware she’s making a music video and whom would be very disappointed if word got out that it was cancelled due to an issue with the Mayor. And given all the very unhappy people we see in the comic in question where she points that out, it stands to reason that the word would get out. Heck, I’d be surprised if someone wasn’t recording it.

Then there’s the love square/hero shenanigans.

Remember how in canon, the whole “playing themselves/risking identities” bit kinda just dropped out halfway in? The kwamis were the only authority figures involved to call out on the risk and of the two, Plagg didn’t care and Tikki gave one knowing stare at Marinette before turning around to gush about the suit. Even though Marinette offers the alternative idea to the music video by the end, there’s no further comment or notice of how she and Adrien nearly blew their identities….or alternatively a comedic take where nobody recognizes them regardless and they worried for nothing. Honestly, I would have taken either setup.

Having Fu present to call them both out shows there is a responsible authority figure watching, makes it clear there are rules they are expected to follow, and reinforces that this was, in fact, a horrible idea. Sure, Marinette and Adrien worried enough to hide their masks, but it should have been obvious that wouldn’t work long term. They are risking their identities, not just to Paris but to each other. And he calls them out for doing it on purpose.

Then there’s the beautiful crescendo of the love square dance in that the two both pretty much have figured out the other’s identity and just want an identity reveal to make it official—which Fu won’t allow. We see it in their playful banter that gets mistaken for “getting into character” and in Adrien in particular pushing Marinette to take part.

This is a point where we are seeing them be teenagers. Foolish of them? Yes. Should they have known better and not done it? Yes. But is it in character and the sort of teenage shenanigans we would expect of teenage superheroes? Definitely. And that’s part of the point. Because they are teenagers. Teenagers in love, no less. Teenagers in love with secret identities to dance around. Which is half the fun of secret identities!

It’s just another aspect to this episode that makes it enjoyable.

So overall, the episode matters in ways that the canon version didn’t and was fun in ways that the canon version wasn’t, making it stand out not just as an episode or a remake of the canon episode, but as its own standalone episode AND a noteworthy point in the overall story.

[genericpuff]

This might be kind of a stupid question, but in total, how many times did Rachel retconned LO? I clearly remember Hypnos being trapped for 10 years and then it getting retconned to "a few days"

Also, Hera, Demeter, Hestia going from friends to sisters

Did something else get retconned…?

UHHHHHHHHHHHHHH-

this question got me thinking so hard i consulted the UnpopularLO crew, here's what we were able to come up with but there are almost definitely more examples:

Melinoe claims she's only been trapped for a few days but this contradicts what Hypnos told us about Kronos using a child deity to overthrow the Underworld in the first place. Unless this just means Persephone showed up just a day or two after everyone fell into a deep sleep, but considering the state of the Underworld when she arrives and other things we're told after the S2 finale, there's no way this is the case.

Speaking of Melinoe, the whole concept of "the interloper" was clearly something Rachel came up with on the fly and didn't have an actual solution to because when we're first told about them, they look nothing like Melinoe:

The weird replacement of Hades' imagined childhood self with Melinoe as a dream child who was actually "always present" throughout the first two seasons. Like, why is Hades so familiar with the ghost child 'checking in on him' if this was some random thing that started happening due to Kronos messing around with the timeline?

The sudden 'reveal' that Ouranos was the one pulling the strings and manipulating Apollo since the very beginning even though that makes zero sense and was completely unnecessary to explaining Apollo's motivations. Apollo himself even constantly flip flops between being some evil mastermind out to get Persephone for a very specific purpose (overthrowing Zeus) and being just a completely oblivious obsessed asshole who doesn't understand consent and actually believes Persephone is in love with him. After all, why would Apollo go on a date with Daphne and then ask her if she'd be willing to cut her hair to look like Persephone's if the goal was to get his hands on Persephone specifically for the purpose of using her powers to overthrow Zeus? How in the world does Daphne factor into that?

Throughout S1 and 2, the gods claim that the mortals are largely disposable and easily replaceable, but then when Persephone causes the plague, suddenly mortals need to be protected because their beliefs and rituals are necessary to sustaining the gods (funny how Hermes bounces between the mortals being necessary to save at all costs but also just inconvenient to live without, like which is it lmao):

The whole "plan" to overthrow Kronos bouncing between being Hera's idea and being Zeus' idea. Rachel just couldn't seem to decide if she wanted a strong female character like Hera to be a victim manipulated into abuse or willingly choosing to put herself in harm's way for the "greater good". IIRC it's written out in the end that Hera and Zeus couldn't even remember who came up with the plan first (but don't quote me on that, I need to find the panels, they do stick out in my mind but I don't know which episode they're specifically from)

The reveal that Hera was the missing fertility goddess depicted on the mural when the original reveal of the mural looks nothing like how it looks later in the flashback sequences. This is the same as the Interloper problem where Rachel was clearly grasping at setting up some kind of mystery box that she didn't know the contents of.

The reveal that Zeus and Metis had a relationship which is what allowed him to use her powers in the first place (because within that same episode Rachel revealed that a bond of love was necessary to using them, but then clearly realized that meant Zeus and Metis had to be in love)

Zeus consuming Metis was changed into some plan to "protect Hera" from being used as a fertility goddess power battery, but then Zeus just went ahead and slowly drained Hera of her powers anyways.

Metis becoming a star after being eaten by Zeus because reasons.

The text messages from Leuce and Hades were retroactively changed into a "manifestation board", probably to absolve Hades of "fooling around" while Persephone was trapped in the Mortal Realm, but all at the expense of a woman who was now retconned into being delusional just for the sake of strengthening the main ship and giving Persephone someone to bully.

The reveal during the trial that Eris was the cause of Persephone's wrath when there was literally zero reason for that to be the case.

The reveal during the trial that Thanatos was actually Hades' adopted son, which really doesn't look good on Hades considering how much of a dick he was to Thanatos throughout the entirety of the first two seasons without any impression given that they might have a canon father-son dynamic.

Apollo and Artemis WEREN'T originally going to be children of Zeus in LO, as Rachel didn't want to create any possibilities for incest within the messy family tree of the Greek gods, but then she decided to make them the children of Zeus anyways as a "plot twist" which is really silly considering 1.) most people would assume they're Zeus' children anyways due to being his children in the myths, and 2.) she still designed them to look just like Zeus.

The subtle but very present SA retcon. This one's so egregious and in-depth I wrote an entire essay about it.

Minthe was originally written with BPD which Rachel decided to "move away from", probably because she realized how shitty it made her look to give BPD to the one character she was pitting the audience against as the "mean other girl" who we all knew was eventually going to be turned into a plant.

Edited panels and changes in the physical books. This is unfortunately not something that I can fully document here, I'm planning on making an actual dedicated post for it, but people have caught changes both in the webtoon version of the comic AND the physical prints that point to Rachel trying to quietly retcon things in the wake of her own bad writing, one of which is present in that aforementioned SA erasure essay in which a scene was added to make Persephone seem more sympathetic towards Apollo. That said, there's also a scene in the trial arc that was changed in the webtoon version, in which Rachel retconned Eris' dialogue from revealing that Hades was the reason Demeter wasn't queen of the mortal realm to reminding her that Hades was the reason (because obv later on we'd get a flashback sequence showing us what happened between Demeter and Hades, which implied that Demeter knew all along what Hades did because he did it right in front of her):

(isn't it funny-weird how Persephone never asks about this despite being in the courtroom when Eris mentions this?)

There are almost DEFINITELY more examples of Rachel absentmindedly and/or intentionally retconning things throughout LO, but that's what we were all able to come up with and should at least get the gears moving in our heads when thinking about other instances of it throughout the comic. Granted, some of these are arguably less 'retcons' and more so just logical inconsistencies / plotholes / etc. but they all still point towards Rachel doing a very bad job at keeping track of her own comic's narrative, its characters, and its twists, even in spite of having multiple other people working for her who all seem to enjoy LO (including heyitsjaki, who is also a webcomic creator), an editor with a background in television writing, and a massive and dedicated fanbase that actively keeps track of her story and its themes arguably more than she does. At that point it feels less "oopsie daisy!" and more just deadass not giving a shit. I don't want to accuse her of intentionally doing this, but it's like she knows her fanbase will just go with whatever she tells them even when it doesn't align with other things she's told them or make sense within the overall narrative - and she'll still be rewarded with Eisner awards regardless - so she doesn't bother to actually try when it comes to the writing, it's just about meeting that panel quota and giving people more H x P fluff.

The simpler answer though, even outside LO, is that Rachel just can't write.

[9w1ft]

i declare

thinking about the tortured poets department the song, and the charlie puth line, and how maybe like, the act of declaring he should be a bigger artist helps place the song into the greater timeline.

because it’s a sort of weird thing to say in 2024 of an artist that’s no longer up and coming.

charlie puth got his start in youtube in the late 2000’s and released his debut single in february 2015. and leading up to that he had several EP’s and promotional singles. it made me curious, at what point might the people en masse start to pay him attention? i checked google trends and as you can see here he gets a huge jump between the 2014 and 2015 data.

(he then gets a further jump toward 2016 when he did a promo single featuring megan trainor, and then doing “see you again” with wiz khalifa. (coincidentally this song becomes one of the guest duets featured in the 1989 tour movie))

and i was looking around at articles from this time period, when i ran into this tasty morsel:

so i clicked on through

take a little ride with me

so to summarize, charlie puth had his breakout star peak over the course of roughly 2014-2016, during which he was up for an award at the 2015 MTV VMAs. he doesn’t win, and in fact, he loses out to taylor herself! later on in the article it talks about him going to an after party and hanging out with taylor selena and others. so it had me thinking, i could almost imagine taylor talking with her friends that year or that night, or even declaring to charlie himself in the wake of his loss and her win, in a giddy manner, at the party they are reported as having talked at, that he deserves more success than he gets. in this way i came to the conclusion that the timeframe of 2015-ish (rather than 2023) really fits the spirit of the lyric “we declared charlie puth should be a bigger artist”

and

yes.

yes fam.

the 2015 vmas was that vma’s.

that vmas.

let me pull quote an excerpt from the billboard article as i included above, just to emphasize:

4:40 PM: Charlie has the good fortune to walk the carpet in the wake of Taylor Swift’s gaggle of supermodel friends, including “Bad Blood” star Karlie Kloss, leading photographers to alternately yell “Charlie! Karlie! Charlie! Karlie!” as if it were a hectic version of Name Game. While on the carpet, Puth chats with multiple news outlets, and later he says of the dealing with the paparazzi, “It’s amazing that we view people in unnatural states and just love it. I don’t really understand it — it just makes me very uncomfortable. But, whatever. I’m so appreciative to be here.”

such a fun convergence of events, don’t ya think?

and just a few extra points i thought i’d add:

first, i don’t know how many of you remember how taylor was behaving that evening, but don’t you think she was giving major golden retriever energy??

both in how she was chasing after karlie that night,

and also… call me crazy but, her hairstyle??

(also she’s in a houndstooth print, har har)

and i can kind of envision this taylor, who brought the whole bad blood music video crew as her entourage, having more than several bars of chocolate at hand for everyone that night, but ending up eating them all herself 😆

and another thing that helps tie the song to this time period (maybe some of you have guessed?) the line “who else decodes you?” is extra apt because… *da da-da daaaaa*

🤗 karlie had just embarked on her coding journey!

on a more solemn note? i don’t think it requires too much of a stretch of the imagination to see “but you awaken with dread” “i chose this cyclone with you” among other lines pointing to the new layer of stress taylor probably was harboring around being with karlie in public. because this is all taking place in the year directly following kissgate 🥺

so there you have it folks! this is why the tortured poets department is a kaylor song to me 😌

[jerreeeeeee]

actually its kind of crazy how little we actually see the starblaster crew interact with each other. like other than tres horny boys and each of the pairs in that trio, and like, arguably lucretia and thb, barry and lup, and lup and taako, most of the relationships between the crew are only a few lines, if anything? like obviously in-universe they're all really close and griffin says that (time enough to grow indescribably close), but there's a lot we don't see. like, taako & barry, for example, have a handful of moments, lines we can point to that show they are really close (you're my family, taako, can i speak frankly?), but as far as actual screentime, there's really very little.

and even those i mentioned before, like, lup has more screentime with barry and taako than with anyone else, there's the whole little legato monologue about her and barry's relationship and she has (comparatively) a lot of scenes with taako, but also, as a character, she's only around for maybe a sixth of the show, so there's just not a lot of time to work with?

and that's not to mention the relationships we can figure were probably present in-universe, but literally never see, like lup & davenport. and on that note, i actually can't think of any other pairs who don't interact at least once, but still, very rarely. like now i'm considering davenport & barry. who we hardly see but there is the fact that barry cast command on him to drink the ichor. it's one line in the show and the implications are never really mentioned but there's a lot of significance to be wrung out of this one tiny interaction. barry condemns lucretia's methods of stealing agency from their family in the service of the greater good, but when he thinks it's best for davenport, does the same on a smaller scale? barry doesn't have the time to try to convince him to drink, he needs davenport back to himself now, because davenport is someone dependable, a leader, someone who barry knows will be capable and decisive and relieve him of the responsibility he's been shouldering by himself? that barry knows davenport won't begrudge his use of the spell, because he'll see it as pragmatic, necessary, assistance, and forgive him for it? none of that is necessarily supported in canon but it can be extrapolated from, again, kind of a throwaway line.

the non-thb crew have presence and are important to the narrative, but most of that comes from thematic significance rather than them as individuals, you know? we hardly see lup and barry and davenport (maybe arguably lucretia too, though we see more of her than them), but we see the echoes of their decisions and their goals and their love for the rest of their family and the way they shape the story.

but actually, even that's not entirely accurate, because as significant as they are in that way, their presence isn't only due to that, they're full characters too. they have personalities and depth and connection, they're not only plot devices. like, maybe griffin needed to explain why lup was missing, and that's why she became a lich, and her needing to be a lich is why she and barry had their romance, but also, if that were all there was to it, the legato monologue wouldn't exist, the best day ever wouldn't exist. those are scenes designed to build lup as a character through her connections to other characters and to the central themes of balance, not to fix plot holes. it's just that all of that character building takes place in a pretty small fraction of the show compared to tres horny boys, who have the entire thing. idk its interesting and impressive how some of the deepest characters and most profound relationships were developed in a very short amount of time

[hook-on-fandoms]

Food Trucks Against Private Army Recruitment

I've been thinking about how Eliot very specifically sad was that the Food Trucks hired ex military. And I remember that in the first season of Redemption RIZ was recruiting and only had ONE decent recruit that couldn't even last the whole season if I remember the fired person correctly.

And I can't stop thinking about how Eliot joined the military to do some good like his dad did. Then he sacrificed bit by bit of himself going into more gray areas as time went on for the greater good that by the time he got out he couldn't see a way back so fully put on the black hat.

And he is not alone in that. There are many who go into "private security" that pretty much ends up becoming wet work in the show. But when you have a skill set and can't keep a job otherwise there you go. I mean they did a whole episode on homeless vets for goodness sake.

But now Eliot has a way of giving them a different choice in the food truck. But with it being a food truck that also means the vets are exposed to what's going on in the streets.

So that leads to the scenario where one sees something they can't stay out of (someone harassing someone else and the like) and the vet just can't let it be so they get involved. The plan was just to get in between and get the harasser to back off, but it got out of hand and now the vet is in jail being charged with assault.

And they wouldn't do anything different but are now mentally preparing themselves for the fact they are probably about to get fired from a really well paying job with great benefits. They're surprised when the cop comes in and says your lawyer is here (they for sure don't have a lawyer let alone called one yet).

Turns out the owners of the food trucks heard what happened (one of the Leverage crew that keeps an eye out on their local batch called up cause always have to know what is going on with your cover) and called up/just enacted the policy for this situation. The lawyer gets the charge thrown out before the day is out.

The vet confusingly goes to work the next day to find out they've got a bonus and a raiser and it is explicitly said one of the company's goals is to improve communities so if defending someone who needs it is something an employee does then the employee is covered.

And other vets find this out and now instead of going private security they can go to a food truck and I wonder if in a small way that weakened those companies

[hydr0phius]

Welcome back to more crack summaries and notes. Today it's Thrawn Ascendancy: Lesser Evil, and I am absolutely distraught after reading it.

Linked: Chaos Rising and Greater Good

Starting out strong with this one aren't we, Mr. Zahn?

...

Samakro: please let this be a normal fucking side trip-

...

The Springhawk: *appears*

Jixtus: Not this mf again. Give me a damn BREAK-

...

Thrawn, over comms: If there are any Watith here, we have your prisoners.

Generalius Nakirre: I'm going to answer him.

Jixtus: Do NOT

...

Generalius Nakirre: If you're not going to tell me, I'll just ask him.

Jixtus: nO-

...

(word for word)

Generalius Nakirre: The Kilji path will prove superior

Thrawn, flatly: No. It will not.

Generalius Nakirre: Again, you dismiss our wisdom without even hearing it.

Thrawn: In my experience, superior wisdom can stand on its own merits. It does not require a warship to force acceptance.

Generalius Nakirre: You also bring a warship to this place.

Thrawn: But I do not claim to offer superior wisdom. Nor do I intend to impose my wisdom upon others.

(Thrawn, I love you dearly).

...

Jixtus, quietly in the background for the last five minutes of the comm call with Nakirre and Thrawn: Oh my fucking gods, DISENGAGE. DO NOT LET HIM KNOW ANYTHING MORE ABOUT YOU-

...

Nakirre, internally during the comm call and Jixtus' warnings: WHY SHOULDN'T I FUCK HIM UP? HE'S ASKING FOR IT. IT WOULD BE SO EASY.

...

Thrawn: *blank stare on the bridge, facing Thalias*

Thalias: Look at him going into deep thought. *Turns back to Che'ri*

Thrawn, directly behind her now: So have you-

Thalias, jumping about a foot in the air: -STOP SNEAKING UP ON PEOPLE LIKE THAT!!!!

Thrawn: I wasn't????? Anyway, has Che'ri had anymore nightmares?

(He was sneaking but he doesn't know that lmao).

...

Lamiov: *sends Ba'kif a message about Thrawn*

Ba'kif: *Dropping absolutely everything and moving faster than his colleagues would if there was all out war because his Son is up to things*

...

^^^ All that was just in the prologue and I was nearly losing it lmao.

...

Thurfian: *makes a decision*

Thivik: *judgemental vibes*

...

Thrawn: *rattling off info about the paintings in the reception area of the Mitth crib on wherever it is that they were*

Thrass: How the fuck did you know all of that-

...

Lappincyk: Larawn. Has a nice ring to it.

Me thinking of that vine: Larawn James sjsjs

...

Lappincyk: Ok and what is Thrawn to you?

Thrass making a spur of the moment decision: He's my friend.

Thrawn, sitting down: :3

(That felt like a set up. Thooraki and Lamiov going "Thrawn needs someone who knows politics" and then shoving Thrass into his orbit).

...

Jixtus: I have information you'll want

Thistrian: let me consult with the Patriarch.

Thurfian: Tell them to feck off. We don't want anything to do with them.

Thistrian: o h

...

Ba'kif when he found out about the Magys: SORRY YOU WHAT- NO. WHAT POSSESSED YOU

Thrawn: :)

Samakro: I'll see this through. I'm in too deep.

...

Thivik what's on that datacard??? WHAT DID THRASS PUT TOGETHER-

...

All the Thrawn and Thrass interactions give me life.

...

Zistalmu: I got a divorce.

Thurfian: babe, please. :'(

...

Roscu: *blathering on & being all high and mighty while a fucking asteroid missile is lining her up*

Ziinda: Can you shut the fuck up?

Roscu: I- ok.

...

Thrawn: I'll see y'all later. Uingali and I are going on a trip for a bit.

Samakro: k, bye.

later

Samakro: Where are we???

Bridge crew: idk man??

Che'ri: I'm following him. He's in danger and we need to be there.

Samakro after a lot of talking with Thalias: Oh. ok.

...

Thrawn: Can you fire a charric?

Qilori: *nervous wreck* nO

Thrawn dragging him up out of his chair: You're about to learn.

...

Thrass, holding a chair & ready to use it: Yeah, that's right! Drop the knife!

The thief: *slowly puts the knife down, looking behind Thrass the whole time*

Thrawn standing menacingly behind Thrass ready to deck the thief like he did his accomplices: >:)

...

Thrass: Ok, Roscu, but if you did fire on us you'd be killing a Mitth Aristocra and his brother.

Thrawn: :0

Lappincyk: :D

Roscu: Damn, ok.

*after the Odo ceremony*

Thrawn: Are we actually brothers now?

Thrass: Yeah, if you want :3

Thrawn: :') ok

*cue secret sharing*

...

CEDF: *trying to keep the peace in the Ascendancy on Syndicure orders*

CDF and Family Fleets, with the indignant air of a 10 yr old Sephora girl: Oh my GODS, can you LEAVE? You have NO POWER here!!!!

CEDF: Ok, fuck you. *sorts out the fighting anyway then dips off to wherever they get sent to next*

...

Che'ri: I'm fine. I can cook my own food while you're gone, and Mid Captain Samakro can check in on me.

Samakro: *worried Dad being left with the kids for the first time noises*

Thalias: ok.

Che'ri: Niceeee

Samakro: *sweating bullets*

...

Thalias: You Borika?

Borika, fake accent on: You a cop?

Thalias: What-

...

Borika: *nice rancher lady*

Borika 0.5 seconds after Thalias mentions the Seekers program: *pulls a charric on Thalias once they're inside the house and drops the accent*

Thalias: Holy fu- HANg oN-

...

TIMMY!!!! WHY DIDN'T YOU LET BORIKA AND THRAWN MEET!!!!!

...

Fuck the Ascendancy too btw. The systems in place are shit. Those poor sky-walkers.

...

*Two families fighting*

Ar'alani having been sent to deal with it, angry admiral voice engaged: OI, STOP THAT

One gunboat: NO. YOU HAVE NO JURISDICTION HERE CEDF.

Ar'alani, fed up: Flicker all of them, then drag them away from each other

Wutroow: That's going to piss a lot of people off, Admiral.

Ar'alani: idgaf. They're being stupid and putting civilians in danger.

Wutroow: Then might I suggest dragging them back to different orbital levels? if they want at it again, they'll at least have to try.

Ar'alani: Excellent thinking. Let's do that.

...

Ja'fosk 20mins after they flickered everyone and are headed back to UAG: Ar'alani you need to stop hanging around with Thrawn so much.

Ar'alani: Ok but he's right.

Ja'fosk:

Ar'alani: Y'all are just haters.

Ja'fosk: Just get back to UAG.

Ar'alani: Ok.

...

Ar'alani: *Firing on Dy'lothe's ship because he's ignoring her and possibly about to fuck up Thrawn's plan*

Dy'lothe: AR'ALANI, WHAT THE HELL ARE YOU DOING?

Ar'alani, sick of CDF bs: GETTING YOUR ATTENTION. ANSWER YOUR DAMN COMMS, MAN-

(SHIP, SHIP, SHIP, SHIP)

...

Dy'lothe: Acting on the Syndicure's orders-

Ar'alani: Oh, so illegal orders, then?

Dy'lothe: ...yeah

Ar'alani: ha.

...

Ba'kif: Here's Thrawn's latest plan. I'm giving you and anyone else you can convince permission to go and assist him.

Ar'alani on four hours of sleep: This is completely insane and could ruin our careers.

Ba'kif: So you'll do it, then?

Ar'alani: Of course!

...

Thalias: There's no bus to the spaceport-

Borika: I've got you, girlie. I'll drive you.

...

Samakro: Oh yes, you're Thrawn's big, strong protector.

Thalias: yes.

Samakro: :)

...

Samakro: So, here's Thrawn's plan.

Thalias: Fuckkkkk, that's insane.

Samakro: Yeah... anyway good luck with Thurfian. I'll wait here for you.

(SHIP, SHIP, SHIP!!)

...

Che'ri: *possessed by the Magys*

Samakro, dad mode engaged: IF YOU DON'T LET HER GO, I'LL OBLITERATE YOU AND YOUR PEOPLE

Magys: You jest

Samakro: I do not >:)

Thalias: TAKE ME INSTEAD

Samakro: HELL NO-

...

Thalias: I pulled a charric on the Patriarch.

Samakro: WHAT-

...

Jixtus: And what question would that be?

Thrawn: The most critical one. Are you ready to surrender?

Everyone: oohhHhhoOhohoho, you've got some balls saying that, Senior Captain.

...

QILORI KNOWS ABOUT THE SKY-WALKERS. nOOoooOOOOOOOOO

...

Can we appreciate how well Thrawn's plan went? They tore Jixtus UP.

...

Ja'fosk, pleased: How did Senior Captain Thrawn obtain such accurate information?

Samakro who was fully ready to admit that he fed Thalias false info because he thought she was a spy: o H, uH. Yeah he kinda just pulls things like that out of thin air, you know? I can't explain it.

...

Che'ri has now met both Kivu siblings AAAAAAAAAAAAAAAAAAAAAAAAAAA. I think she's going to figure it out if Thalias hasn't told her yet.

...

Everyone going into the chamber thinking Thrawn's going to get a promotion or something and then the Admiralty exiling him and stripping his honour chains sucker punched me in the gut. Thurfian's smugness did not help matters either. I could feel the anger from everyone in that scene.

...

Sorry the way the Aristocra had everyone lined up for serious consequences instead of the commendations etc they got in the end because Thrawn took all of the blame himself to keep them in positions where they'd be able to guide the Ascendancy's forces in his absence got to me oh my gods.

...

Ba'kif: We're telling you so that you don't kick up a fuss about the exile thing

Ar'alani: I would never!

(She would. She was going to)

...

Ba'kif: *explaining the Clone Wars*

Ar'alani: I'm not remembering all that. Happy for them, though. Or Sorry that happened.

...

(Not crack, just pain)

Ar'alani: Don't you dare leave before I say goodbye to you, Thrawn.

Thrawn: Of course not. That's not what friends do.

Timmy: *doesn't write their goodbye scene*

Me: *screaming*

...

Thrawn: It's only for six months. Perhaps a year.

Ar'alani: And then you come home?

Thrawn: Yes. It will be alright.

Me: It was not, in fact, alright. seventeen-ish years and then another nine missing out on Peridea is not 1, mate.

...

Ba'kif: it's a shame I'll never see you in admiral whites.

Thrawn: Nobody here is senseless enough to promote me to admiral lmao

...

Ba'kif: We have time for one final meal together, if you wish

Thrawn: If you don't mind, I'd like to eat alone. There's a bistro where Thrass and I used to meet. I'd like to spend my last evening on Csilla remembering him.

...

I'm not okay. Probably going to have new fics to write now. hhhhhhh. That was sad as hell at the end there.

...

Also these two trilogies just highlight how little Felony understands Thrawn, and I hope all of you understand after reading the books, how badly he massacred our boy in Ahsoka. It shouldn't be, "omg we got him in live action!" anymore. It should be, "who is that blue guy and why are we being given such shit quality shows and expected to like it when the characters that mean so much to us have been reduced to having less dimension than a cardboard cut out, and that a slug could move 1 kilometer at a faster pace than the supposed plot that's scarcely here?" Have some standards that aren't six feet under, please, everyone (this is not aimed at y'all who have seen this from the start <3).

Anyway! Onto the Imperial Era I go :D

[vickyvicarious]

"One of those big bats that they call vampires had got at her in the night, and what with his gorge and the vein left open, there wasn't enough blood in her to let her stand up, and I had to put a bullet through her as she lay."

holy foreshadowing batman

Yeahhh. Well. Sort of. Foreshadowing that is only partially fulfilled, I guess? If we're thinking for what happens to Lucy, well, it's not him and it's not a bullet, but the gist is sort of the same. If we're thinking about Quincey, well...

You know, when you look for it, Quincey Morris builds up a fair bit of foreshadowing for his eventual role as a vampire slayer. Specifically, foreshadowing hinting at him shooting a vampire dead for their own good, because they are his friend.

Some big moments for this:

His vow to Lucy: "Little girl, your honesty and pluck have made me a friend, and that's rarer than a lover; it's more unselfish anyhow."

His prior experience mercy-killing his horse after a vampire (bat) all but killed her.

Shooting at bats when staying with Arthur.

His promise to Mina, echoing his words to Lucy: "Little girl, you will never regret that true-hearted kindness, so long as ever you live!"

Van Helsing saying that "a sacred bullet fired into the coffin kill him so that he be true dead;"

Shooting at Dracula in bat form. Specifically, he's shooting into the room in a way that could be dangerous to the people inside, and makes Mina shriek.

And all of this is of course building up to the moment when he is the first to answer Mina's request that she be killed should she be too far gone. A moment in which their friendship is especially emphasised:

"I'm only a rough fellow, who hasn't, perhaps, lived as a man should to win such a distinction, but I swear to you by all that I hold sacred and dear that, should the time ever come, I shall not flinch from the duty that you have set us. And I promise you, too, that I shall make all certain, for if I am only doubtful I shall take it that the time has come!" "My true friend!" was all she could say amid her fast-falling tears, as, bending over, she kissed his hand.

There's a few repeating links here. Quincey's friendship is unselfish, and thus he is willing to set aside his own feelings for the sake of doing what his friends need. He steps aside for Lucy and Arthur. He hesitates to go where he's not wanted. Mina offering him comfort and recognition of her own is what touches him enough to promise his friendship to her; initially he was just glad that she helped Arthur feel better, as he felt Arthur's grief (who was engaged to Lucy) was more important.

Quincey takes action, and of the crew, he's the one associated primarily with guns. He shot his horse. He shot at bats. He shot at the bat (Dracula himself). All of these were vampire-related uses of a gun, and the last came close to aiming at his friends. So, if anyone is to use a 'sacred bullet' to kill a vampire, he's the first one to come to mind. And if the vampire is his friend...

There is one person who is perhaps going to be too far gone. One person who is his friend and is asking for people to make a hard choice and take action for her own good. The person who his bullet at the bat made shriek (which, if things did pan out this way, would probably feel like foreshadowing to the way we see vampires screech/scream when they're killed in their coffin).

Mina.

There's a reason Quincey understood what she was asking for first, and a reason he was the first to make the promise. In a way, his whole role in the story seems to be suggesting he would always end up here. He would be the one to do the deed this time. Before, he didn't know in time, and then Arthur had the greater right to take action. But in this case, Jonathan wasn't willing, and Quincey was directly asked. When a friend asks him for something, he's there. He makes it happen. He will kill Mina, no matter how much it hurts him. Because his friendship is unselfish, and it's better for her, and she has asked him to.

....Except then it never happens.

Instead, Quincey makes a different sacrifice for her sake. He still kills a vampire. But not a friend, not in a coffin, not with a gun. Someone dies for the sake of his friendship with them... but it's him dying for Mina, rather than him mercy-killing her. He's still unselfish in his friendship. He still sees things through no matter the risk. Despite being rejected, he considered it worth it because he became Lucy's friend. Despite dying, he considered it worth it because his friend Mina got to live.

A lot of the foreshadowing for his role still works, but just not in quite the way it might have seemed to be building towards for a while. And of course several of these can point to him killing Dracula, not Mina. Not to mention his vow with Jonathan on that topic, which is pretty directly fulfilled. But I just find it kind of fun that, in keeping with the uncertainty about what Mina's fate will be, Quincey could be seen as having foreshadowing for either eventuality.

[deathits3lf]

wolf359. its grasped me again.

I have become obsessed again. To the point I wrote a ABSURDLY LONG ramble about Warren Kepler. I wrote it in discord messages and I will not be taking the time to fix the typos. There are so many.

But yes, I wrote a... character analysis? It's honestly just about the last season.

⚠️Major spoilers ahead. For last season, the finale, anywhere past 45 basically. If you have not completed wolf 359 entirely, well, this will be the end all be all of spoilers.

oooh. I should put a highlight here: but he assumed it was a "sorry, you are wrong and I am right, and you are going to die, and perhaps you deserve to in my eyes." when it really meant "You are right. I love you. I would do anything for your safety even if you may never know I was doing it for you." <<<< i love this part. im so smart. squints. im actually not but i was onto somethin

And be warned that it is long. Google docs says 1563 words. I'll put it under this read more.

Have fun. I hope this is any bit comprehensible.

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

okokok. so. warren kepler. i could talk about this man for HOURS, i swear. but i need to START somewhere so why not start at his death. I love thinking aboiut it... and by that i mean i hate thinking about it. buts its great. so tragic. i love characters dying like that; they are introduced as a douche. dickhead, antagonist, honestly villain. not likeable, really. (by that i mean well written but the character themselves being THE WORSTTT) (although i love him i DID used to HATE HIM) (i always joked about wanting to throw him out of an airlock... no seriously. i didnt know. help) 

BUT, throughout the show, despite them being a dick, we are shown some moments of them almost.. being human. cause they are. everyone, despite how mean or stuckup or 'emotionless' they are, is human, and humans feel emotions. 

okok, so at this point some hate em, some love em (altho mostly lovehate), but overall they are.... antagonistic but with the potential. not enough potential however.- (quick sidetrack here, i swear i get back to my point eventually) 

The Last Season. oml, the first time I watched it, before I knew what kepler was doing, I thought,"kepler is acting weird". kepler is acting almost nervous, and something just felt off. yes it was because cutter was there, kepler was used to being in charge and aggressive about it to make his subordinates feel scared and therefore listen to him. which in the last season, is clear where he learned that from; cutter. but now cutter was back and he was the subordinate and scared one. he wasnt The Most Powerful One There anymore. BUT ALSO 

Maybe he acted weirdly because,,listen,, he was already planning something against them. it makes sense. he was sort of kept in the dark, but he knew something was going to happen.

He had to watch his crew like that, despite having just held a mutany against him, he still knew them. they were stuck in space together, they knew eachother, but also JACOBI. kepler interacting with mindcontrolled jacobi was. thats a rant for later on. 

But. He had just had his morals rocked. His right hand man, his most loyal companion, betrayed him, tried to get him killed, he lost his other teammate- no, friend, and well, if you look closely enough he really had some time to think about it all. 

And thats where he decided that he was not on the side he always had been on, the one he worked for for god knows how many years, the one who he had based his entire mindset on, and maybe he realized that his idea of a bigger picture didnt line up with Goddard's. 

Maybe he was doing it for Jacobi. and maxwell. Maybe he was doing it for the whole crew. or the whole world. Maybe he really, truely, cared. deep down.

I also think that he wasnt planning to make it out alive. 

He didnt want to face it afterwards. He convinced himself that this was the only way- that he couldn't possibly have made it out alive and that sacrificing himself for the greater good was the only way.

He could have survived that. The hardest part would have been convincing the others to let him on the homebound ship. (the sol i believe?) jacobi begged him to stay. oml that scene. another rant for later on. 

But going back to my first point- I love that they really gave you one last reason to care about his death. If he died still on goddards side, even if he seemed a bit hesitant, that was still the cowards choice. they really said "hey he actually cares about the greater good and to an extent, the others. anyway immediatly after that revelation kill him." They gave us a reason to cry.

I love characters like that. You hate em, but before they die, you are given a reason to give a fuck. Really wrenches your heart. 

back to other points. rachel, had been SHOT. and yet managed to push him into the airlock and close the door. you could say he was overconfident, but I believe thats uncharacteristic. hes always on guard, always thinking of every way something could go wrong and how to account for it. He should have thought about rachel fighting back. he could have stopped her, but he had already accepted that he would, and perhaps should die here. perhaps he didnt want to face everything after it all. how he might actually care about ppl. how fucked up he acted and all his bad actions. and also, how he could keep living beyond His Job. the artist formerly known as warren kepler. if he stopped Making Art, who was he to go back to? warren kepler didnt exist. he was just a husk. 

thats why i love reading Kepler Back From The Dead fics. it would have been SO INTERESTING. although its fair they wanted to wrap up arcs, or at least leave them on something somewhat satisfying, and kepler was definitely NOT done cooking. put that man back in the microwave he is STILL cold in the middle. 

anyway. kepler was a coward for dying but at least cowardice is human. 

>He couldnt tell anyone. What he was planning. couldnt even tell jacobi, "hey, im on ur side and also im going to stop it all. and sacrifice myself" because rachel was there. rachel was watching, and she was arrogant that kepler couldnt possibly not be on goddards side. yeah she probably definitely knew he cared about jacobi, but the others? she was not expecting him to actually have the confidence to go aginast CUTTER. 

jacobi begged for him to be on their side, argued good arguements,

but jacobi thought. there is no way this will work. absouletly no way he will actually listen to me. but he did. kepler had already planned this. kepler couldnt put into words why he was doing this, but when rachel asked him why he echoed their words; because he is human. 

but kepler couldnt tell jacobi that he was listening. and that he cared about him. he couldnt say he wished jacobi would make it out alive, or that the others would b ok, or that he wasnt going to make it back. 

all he could say was "Thank you Daniel, and goodbye." AKJHSDKJAHSKDH that line makes me want to CRY. its more evidence that kepler totally knew he was going to die. or at least expected it. the way he said goodbye like he knew it really was the last. called him daniel, and maybe others werent aware what that really meant, perhaps they were, but jacobi knew he never called him that. that that meant something. he didnt know what, but he assumed it was a "sorry, you are wrong and I am right, and you are going to die, and perhaps you deserve to in my eyes." when it really meant "You are right. I love you. I would do anything for your safety even if you may never know I was doing it for you." 

.... "thank you" for being in my life? for teaching me how to be good? for everything? AUGH I LOVE THESE FICTIONAL MEN. 

>His interactions while the others were mindcontrolled. I relistened to the first episode or two of the last season, and kepler honestly showed signs that he was already doubting goddard. that he wasnt as confident as when the others last saw him. and they commented on this- rachel talked about hera and kepler replied almost remincing about his time on the hephaestus. he said 'she had always been stubborn.' and rachel said 'careful warren, wouldnt want to sound like you admire it.'

And the whole scene with cutter, pryce, kepler, and mind controlled jacobi. Cutter definitely purposefully picked out jacobi to take notes during that. cutter realized something was off about him. He was weaker, almost upset that his subordinate was mindcontrolled? and would obey his every command? cutter had just improved them; and the kepler that cutter wanted wouldnt have cared. but he clearly did care, as he told- no, lied- to cutter about jacobi being a good team member. despite the fact jacobi almost got him shot, like, not even an hour before I think? He was worried jacobi would be punished, or hurt, or even killed. 

Cutter knew this. he took it into account, basically; he didnt kill him, he merely improved his brain. 

And. Eiffel, after being de-mindcontrolled because of the alien blood, waiting for Jacobi, had accidentily given himself away as being 'unmindcontrolled' when he ran into kepler. he expected to be carted away, re-mindcontrolled, or perhaps killed, or locked in a room, but kepler instead 'played along' and pretended like all was fine. he even sneakily told eiffel to be more careful next time. AND YET WE DIDNT NOTICE- eiffel didnt think to mention 'hey kepler totally let me get off scot free, he is maybe on our side. maybe i mean totally.' ?? and i didnt notice the first time around that THE KEPLER WE KNEW AT THE BEGINNING WOULD TOTALLY RAT HIM OUT INSTANTLY. he was always on their side, and perhaps always planning something. maybe since the interaction with mindcontrolled "she was twenty-eight!" jacobi.

[cienie-isengardu]

Iroh's "I looked away"

“The Storm” [s01e12] provided us a great insight into Zuko’s character, one that undoubtedly helps to understand his motives and anger but also how Ozai’s physical and psychological abuse influenced the banished prince. There are plenty of things to talk about, many little details that build layers of a complicated relationship between Zuko and his father, uncle, or even his crew and how perception of Zuko changes once we learn the truth behind the scar. But the episode also shows us a great deal of insight into Iroh’s character and though I do love how “The Storm” challenged our perception of those characters, rewatching ALTA makes Iroh’s “I looked away” much more devastating to me. 

Because it is not just about his guilt over abuse Zuko was forced to endure. A guilt that won’t disappear no matter if he could or couldn’t do anything to prevent it, but… Iroh truly looked away from Fire Nation as a whole, didn’t he? Understandably, he was grief-struck after Lu Ten’s death and he did not fight back Ozai for the throne, as I suspect he either did not care anymore for it or did not want a civil war to destroy Fire Nation from inside. But he still was The Dragon of West, a very respected general and powerful political figure that others weren’t willing to openly challenge, including Ozai himself.

And no, I’m not wondering why Iroh did not interference with Agni Kai before Zuko’s face was burned to “teach him respect” but about the fact that he did not say anything at all against using the division of new recruits as a bait - and from the episode alone, we know he agreed with Zuko on that matter. It wasn't the right strategy - even if it has merit from a military standpoint, it definitely wasn’t moral or good for Fire Nation’s wellbeing. Beside Zuko, who openly challenged the strategy and called it betrayal, the only person that questioned it at all was an old unnamed general (“But the 41st is entirely new recruits. How do you expect them to defeat a powerful Earth Kingdom battalion?) while Iroh simply kept quiet and this detail makes me think the “I looked away” is as much about Iroh looking away from Ozai’s cruel abuse toward Zuko as about Iroh’s passivity during the war meeting, and in greater scheme, Fire Nation’s politics. I doubt Iroh could change Ozai’s mind and sure, I do not have an idea how the relationship between Fire Lord and ex-Crown Prince looked like, but the point is, Iroh did not even try to question the strategy and choose to sit quietly and dunno, it makes me wonder, did Iroh give up at this point of his life? Was he so afraid of the consequences for speaking his mind that he allowed Ozai and Fire Lord’s court to subdue him so much? Because if he did, his words to Zuko “[...] But you must promise not to speak. Those old folks are a bit sensitive, you know?” is as much warning to Zuko as to himself. 

Iroh said to the crew that Zuko was right but it wasn’t his place to criticize the strategy, but who else was supposed to speak against this plan, if Iroh himself chose to stay quiet on the matter? If all generals - then and three years later - didn’t have any respect for life, whatever for their own subjects or civilians of other nations? And I think this is what truly kills me about this situation, that 13 years old boy had courage to speak against this dehumanization of Fire Nation’s citizens when Iroh, our good uncle Iroh, kept quiet and looked away again and again from what was happening until he couldn’t do that anymore because too great damage was already done.

(And isn’t it ironic that Iroh gave little Zuko a knife with the description never give up without a fight - words Zuko adapted as his life motto - but Iroh himself gave up? First at Ba Sing Sai, after Lu Ten’s death, now here during a war meeting and maybe, just maybe it is Zuko that unexpectedly pushed him back on the right track to actually do something, to make a choice and fight for what he believed was right instead of passively watching all the abuse done to an innocent child and young soldiers serving loyalty to their country. Was Iroh already a White Lotus then or did the travel with Zuko give him an opportunity to join it because he couldn’t anymore look away from how messed up Fire Nation became?)

[derinthescarletpescatarian]

your Normal Spaceship Story has captivated me. spent 8 consecutive hours reading the first 39 chapters and I cannot describe the horror and excitement I felt when I saw it was at 91 chapters AND COUNTING. I especially appreciate how well-paced the exposition of backstories and lore is, and how character relationships evolve in response to major events. people can disagree with each other on extremely important and difficult decisions and still very much care about one another and work together well. the crew (so far) are all just people who have genuinely good intentions but limited information and resources, and often very different worldviews that affect what "doing what's best for the passengers and crew" looks like to each individual. it's great!!

also, I wanted to recommend a game that the javelin story reminds me of: seedship. it's a simple text-based adventure that doesn't require an internet connection. you play as a sleeper colony ship's ai looking for a good planet to set down on. you have to maintain (and sometimes upgrade!) the ship's systems and navigate various space phenomena, weighing your options carefully. this sometimes means you have to sacrifice cryo pods or risk much greater destruction. more often, it means bits of your cultural and/or scientific databases or your sensors will be corrupted or chipped off, affecting either your ability to accurately scan potential host planets or the state of the society the colonists build once you've landed. you can look back on the scores of previous playthroughs and short descriptions of the civilizations that resulted, and no playthrough is the same. (I swear I'm not being paid to say all this.) I don't know if it's on the computer as well, but I have it as an app.

also! I wanted to give some music recs for anyone reading through it. the background music I found most fitting was windows96's albums enchanted instrumentals, nematophy, one hundred mornings, and plume valley; adam bosarge's album structures without rooms; and mort garson's album plantasia. I also listened to some radiohead, the cure, fugazi, and I think queens of the stone age whilst reading, but those have lyrics and might prove distracting for some readers. oh god I've become so obsessed with something in the 10 hours since I first started reading that I'm making a whole music rec ask about it. sorry this is so goddamn long lmao

tl;dr I am extremely normal about the normal spaceship story

FUCK YEAH I WANNA PLAY SEEDSHIP

.

[batsplat]

"I must say that it is very difficult to have good relations when you fight for the same thing, as I fought with Sete. The trigger was what happened in Qatar in 2004. What happened in Qatar 2004.. I saw it as something dirty that I didn't expect neither from Sete, nor from Juan Martinez, who was his technical manager and who had worked with me for a long time. I felt betrayed because it was as if I was being played. Sete was a great rival and when you fight like that it's a bit like Michael Jordan says, it's something personal. With Sete what happened in Qatar made me very angry and it helped me to give my best until the end of that season and for the next one. If I had to give Sete some advice... it's better if he hadn't done it." here's the bit from route46.. i find it interesting he puts blame on juan martinez too!

(following on from this post, and will liberally include chunks I wrote in the sete post) right there's a lot to unpack here, but first of all. I haven't gotten around to watching the whole documentary yet, but I did quickly jump around to find the sete bit the quote is from and... and there is something I absolutely have to address first. because. uh. they actually interview juan martinez - sete's crew chief himself - about the whole qatar incident... and, well. he says the following (rough translation):

At no time did either Sete or I go ask for a sanction for Valentino: we went to ask for greater security for everyone. Once we go to HRC and passed on the knowledge, that we have found a Valentino technician on the track, thus modifying the state of the track, Honda decides that moment what really needs to be done is a complaint.

hold on. just one second. I did suspect there had to be something incredibly stupid at the heart of the whole thing. something that could reconcile all the contradictory information out there, help explain how everyone could feel so confident in their contradictory views. because the whole thing should have a relatively straightforward answer, right: either sete played tattletale or he didn't. and... I mean. okay, look. I'm not saying I'm with valentino on this one but... they did snitch! objectively martinez is admitting they snitched! it happened! either this was a moment of staggering naivety because what did you think hrc was going to do with this information?? or valentino was spot on and they passed on that information knowing that it was at least a possibility valentino was going to get a penalty as a result of their actions. surely it is possible to appeal to hrc on safety grounds without bringing up you saw valentino's technician on the track, who was at the time quite possibly acting quite suspiciously under the cover of night! why are you even going to hrc about this in the first place!

you do not have to be that paranoid a soul to maybe doubt whether they had the best of intentions here, no? what this would also help clear up is sete's response at sepang when asked to deny his involvement, which. I did find it an odd response! you kind of want to give the benefit of the doubt with these things, given sete's longstanding and genuine preoccupation with safety in the sport. that being said, rather than just firmly deny he was involved, he went on this long spiel about how he would've thought it'd be better for everyone to get their grid spots cleaned - and the crux of his argument amounted to how he'd be a hypocrite if he called for valentino to be sanctioned after that. which, why are you even focused so much on this - just say no, you weren't involved! look, it was better to err on the side of caution and maybe simply assume sete isn't the most skilled operator in denying allegations of gamesmanship. but this extra detail would make sete's response in that sepang presser read a little differently:

yeah, sure, I mean, if we're going to be generous here and say sete and his crew chief just innocently mentioned to hrc that valentino's technician was rubbering up his grid slot for 'safety reasons'... then nothing sete says here is technically a lie. he didn't "complain" and it was hrc who made the protest. but. but! it does feel like if sete and his crew chief really were the ones to alert hrc to what valentino's team had done... if what martinez says is actually correct, this whole incident does still read pretty differently! you know how sete says "they" had blocked him from cleaning the grid? it feels like a pretty reasonable assumption that the "they" in question refers to hrc. if hrc blocked sete from rubbering his own grid and he then went to tell them about what valentino had done, did he really expect honda to go 'oh that's all right then, I suppose we'd better rubber up your grid slot too'? seriously? (incidentally, do we think the mechanic who gave evidence was martinez himself)

juan martinez does also go on to say this:

What he does in the end or what he has always done, that's what he does, is turn his story into his truth, which gives him his motivation and that's it. It doesn't mean that it's the truth, it means it's Valentino's truth. The fact that it is his truth or that it is my truth about some things does not mean that it is the truth. When you are fighting for something in sports, there is a moment that you lose sight of the complete picture.

which, yes, this isn't terrible as insight into valentino's character, and mayhaps we can return to this at a later date. but, also, can I just say, if you go! to hrc! to tell them the man they hate! who you are engaged in a tight championship fight with! which has only FOUR ROUNDS TO GO! has maybe had his team do something a little sketchy! and then hrc ensures he gets a penalty for it! come on. specifically after you've been blocked from doing the same thing? could you really not have expected that hrc would go on to file a complaint with race direction? seriously?

incidentally, valentino did already pin the blame on martinez at the time:

well, you can still give sete the benefit of the doubt here I suppose, if you so choose. still, is valentino really just 'telling a story here and turning it into his truth'? the generous interpretation of what happened here is that sete accidentally helped cause a back of the grid penalty, and that's the generous interpretation! hey, maybe martinez is getting his story wrong, maybe he's lying, you never know. but let's just say for a moment that this is the truth... let's just that martinez and sete really did pass on this information with innocent intentions in the name of safety. would this not still make sete's rhetoric after the event a teensy bit disingenuous? it's one thing to say 'yeah this was a misunderstanding, hrc was out for you and we accidentally helped provide the material they needed to bag you a penalty'... it's quite another to say valentino fabricated this whole thing out of thin air, like you had absolutely zero involvement in the whole thing. was this really a feud valentino just invented out of nowhere?

anyway, enough motogp-flavoured true crime investigation... and listen, I do want to reiterate what I said here:

let's be clear here - even if sete did have some involvement in the penalty, obviously valentino's response to the whole thing is still a bit bonkers. like, it's definitely petty behaviour from honda. given the whole 'using a scooter to rubber up the track' does seem like it was at the very least a bit of a grey area in the rules, hrc getting valentino penalised for it is... well, it's all pretty undignified from everyone involved. that being said, valentino did vow to destroy sete and spent the next one and a half seasons tormenting him. some people would consider that a little bit of an overreaction, even if the whole thing wasn't based wholesale on delusion. at the end of the day, he did still do all that stuff

so, anyway, let's get into it! going to go all in here and tackle this shit line by line:

"I must say that it is very difficult to have good relations when you fight for the same thing, as I fought with Sete."

right, so this is obviously a commentary on his natural understanding of how rivalries work... how he believed his relationship with sete was destined to change as a result of how, starting in 2003, they were directly competing. this gels with the limited mentions we get in his autobiography of sete in 2003, which were coloured by how he believed sete had already been praying on his downfall before their actual friendship break up (here and here):

what valentino is saying here is basically a slightly more concise version of what I put in the sete post:

and, yeah, this is a natural element of competition - it's generally accepted that maintaining friendships at the sharp end of professional sports with your competitors is either extremely difficult or straight up impossible. (like marc put it in august 2015: "it's true that before the relationship was different, but because we were not fighting for the championship. it's not the relationship like a friend".) obviously there's still a fairly significant difference between 'friendship' and 'good relations' (and 'actively feuding'). but valentino is acknowledging it is just kinda part of the game... something he's willing to exploit if need be (see here for speculations on how the sete feud changed valentino's approach to rivalries in general). it was always going to be tough for that relationship not to go downhill, and valentino accepted as much. he was also clearly a lot more ready for it to come to that than sete was

"The trigger was what happened in Qatar in 2004."

there's always something interesting about what incident parties identify as the turning point in these rivalries. with sete/valentino, you could reasonably point to three different episodes:

assen 2004: last lap overtake resulting in contact that left sete 'angry', though publicly he turned the page pretty quickly. the first obvious public sign of tension between the pair

qatar 2004: for obvious reasons. the allegations of gamesmanship that made valentino openly turn on sete and end any cordial relations between the two of them, let alone friendship

jerez 2005: the most contentious on-track incident between the pair of them that continues to be infamous for the final corner contact and the post-race theatrics

valentino, when he talks about this rivalry, does seem to always go for qatar. yes, he's talked about jerez, but he doesn't bring it up when he's asked about the relationship between the pair of them. the sample size here is admittedly pretty small, but he answered in a similar way in 2015:

sete, by contrast, is generally more hung up on jerez. he's mentioned qatar a few times when commenting on how valentino had suddenly switched up towards him, but more often than not it's jerez. part of this is just... well, he's really focused on the moral injury aspect of what happened at jerez, where he feels very strongly he was wronged - and even more than that, that the incident set a bad precedent. he discusses valentino a bit in that three hour podcast episode he went on and it's basically entirely focused on that last lap corner

which, you know, if somebody manages to successfully 'put a curse' on you, I do get why this probably isn't the bit of the story you want to bring up by your own volition. it's also the kindest narrative to sete - because if it's all about his jerez, then his decline in that rivalry is more about a moral stance than it is about valentino successfully crushing his spirit

that's the thing, right... both of these choices of turning points, qatar and jerez, represent something to the two parties, and both narratives flatter the person telling them in some way. in both cases, it's about their rival doing something that's unacceptable, immoral, 'dirty' in some way... they're accusing each other of stepping outside of the bounds of what is 'acceptable' behaviour for competitors. they're accusing each other of not playing fair, of not playing the game like it should be played. this is what makes the dissolution of their friendship acceptable too, right - it's not just that they're rivals, it's not just the heat of competition or whatever, it's that their enemy did something wrong. this isn't just normal competitive tension that caused their relationship to fall apart, it's foul play

now, look, I'm not going to make some ultra contrarian argument about how it's all actually about assen 2004, This Race Clash Is The One Nobody Is Talking About... BUT this was the first public incident in which sete failed to act graciously in defeat and valentino verbally noted as much. clearly the relationship was a bit strained already headed into qatar. see the autobiography quotes, see assen... also. well. check out what valentino said at the time at qatar (from here):

"I've been looking for an excuse not to talk to sete"... this doesn't necessarily contradict how valentino frames qatar as the "trigger" - the word itself acknowledges that there was something already there just waiting to be 'triggered'. in what truly is one of the all time great presser questions, the above quote is actually put to valentino in sepang with sete sitting right next to him

good vibes!

unfortunately he doesn't really clarify what he meant here, just saying something along the lines of 'well it's a new week now'. anyway, you can interpret the initial valentino quote in several different ways. you could say he was just searching for an opportunity to engineer a feud with sete and was willing to seize on any opportunity, however flimsy. or you could say valentino had already grown suspicious of sete - presumably as a result of several past incidents between the pair of them. the stuff vale mentions in his autobiography about how sete had been predicting him to fail at yamaha, what happened at assen... again, it's the idea that sete covets what valentino has, that he's been performing graciousness - perhaps, from assen onwards at the latest, a little less successfully so. perhaps valentino just wanted to create a little more distance between the two of them for his own sake, make it easier to fire up his competitive juices - and that's what he needed an 'excuse' for. or perhaps what valentino meant was something along the lines of 'I suspected he was a snake and now he proved it'. whatever it was, it must have been enough for valentino to be ready to pull the pin on that particular friendship. so yes, qatar is the trigger. even if it triggered something that had already been festering for a much longer time

"What happened in Qatar 2004... I saw it as something dirty that I didn't expect neither from Sete, nor from Juan Martinez, who was his technical manager and who had worked with me for a long time."

okay I already discussed the descriptor of 'dirty' for sete's actions. it's something underhanded, it's something valentino doesn't like - snitching on your rivals as a dishonest way of beating them. athletes can build up incredibly convoluted frameworks of what they consider acceptable and unacceptable behaviour, and a lot of the time it is self-serving bullshit.... but it can be self-serving bullshit with an internal logic of sorts. like, this is the thing right, is going to race direction to play tattletale inherently morally so much worse than various valentino behaviours he openly admits to? eh. but for him, he sees this as a fundamentally 'dirty' and ugly way of trying to win. the stuff he does is fair game, but going around trying to find obscure rules that might not even technically exist to fuck over your rival is not okay. that's not how you should fight to win

the martinez angle has also already been mostly covered above... I was aware they'd worked together before martinez moved to the gresini team (while valentino was still at honda by the way, this wasn't a case of martinez choosing against jumping ship to yamaha when valentino left) - but it's still nice to get the confirmation that they'd worked together for a "long time". obviously, this is a fun element of 2004 in general, the extent to which valentino's sworn enemies are all the people he was working alongside in previous years, how vicious the break up had been. this was also in itself a nice source of motivation, and initially that season was as much about spiting honda as it was spiting his specific rivals who had been so wedded to the narrative that valentino was on the superior bike. though it should be noted valentino wasn't disillusioned with, like, the honda rank and file, mechanics and so on - more with honda management and the engineers. here from his autobiography:

and martinez himself was also a suspension technician in valentino's team. which, yeah, valentino feels hurt on a personal level! this is somebody he had worked with and trusted who has (allegedly) decided to do something so underhanded specifically to spite valentino! from the same autobiography excerpt as above:

rivals are one thing, you've kinda gotta expect the worst, but he does take this type of relationship very seriously. presumably it really twisted in the knife for him, this notion that one of his former team members was willing to do something this 'dirty' to him. valentino didn't expect it! not from sete and not from somebody he'd worked with for years! that's the bit that made it unforgivable, the previous personal relationships that valentino felt weren't being honoured

(incidentally, juan martinez actually ended up being nicky hayden's crew chief... during his time at ducati, where of course hayden would be reunited with valentino for two years as teammates. bit awkward!)

"I felt betrayed because it was as if I was being played."

see above, not much more to add. that's what it often comes back to for valentino, isn't it. a lot of stuff is acceptable, it's just part of the game, rivalries are supposed to be feisty and fierce and a little bit ugly. but this? again, a lot of this is about internal frameworks that athletes have for what is seen as acceptable and not acceptable within competition. valentino deploys a rather liberal definition of what should be allowed both on and off the track, but this is a hard line for him. he'll accept a lot, but not what he considers betrayal. something else that remains consistent throughout his career, including as it pertains to a certain other rivalry

"Sete was a great rival and when you fight like that it's a bit like Michael Jordan says, it's something personal."

michael jordan mention, interesting in its own right! someone who's been compared to valentino in his ruthlessness and, well, cruelty (though some of the stories about jordan make valentino look like an angel lbr). a little bit of commentary to be made there on what greatness in sports generally looks like, and how it does often involve some... hm. pretty unsavoury behaviour. the two of them have actually met a couple times, in valencia 2004 where valentino took him for a ride and laguna 2005 where they partied together after the race

obviously, it's a little funny this meeting happened at valencia 2004 of all occasions, at a time in which valentino was really finding his groove where psychologically torturing his rivals was concerned. there's always something heartwarming about athletes drawing inspiration from each other, no? but anyway, coming back to what valentino actually said here - "it's something personal". just in case anyone's unfamiliar, what this is referring to jordan's habit of drawing competitive inspiration from what he saw as personal slights (there's several compilations out there of jordan using phrasing along the lines of 'it became personal with me', if anyone wants to look it up). sete inspired valentino to up his game because valentino did increasingly take it personally when sete thwarted him - and at a certain point, valentino decided that defeat was no longer acceptable at all. the best way possible to fire himself up... take it personally, and be prepared to do whatever it takes to make his enemy's life hell

"With Sete what happened in Qatar made me very angry and it helped me to give my best until the end of that season and for the next one."

well, yes! I talked a little bit here about the parallels between marc and valentino in how they use anger to motivate themselves, mainly in the context of argentina 2018. and from valentino's autobiography:

anyway, excluding the qatar fiasco itself where he lost his temper, it's fun that he acknowledges explicitly here that the anger provided him with a good source of competitive fuel. note also the time span - the last three races of 2004 as well as the entirety of 2005. sete wasn't really a title rival any more in 2005, not after jerez, but he was still a serious on-track threat... if your goal isn't just to win the title but also to prevent sete from winning a single further race, then sure, he's still very relevant! so that rivalry was still a big part of his competitive make-up a full year after sete could no longer seriously challenge him for a title, and valentino does have enough self-awareness to consciously take advantage of that fury when he can. he probably never did that better than in 2005... his brain controlled his fury - and at every single opportunity he used it to beat sete further into submission

"If I had to give Sete some advice... it's better if he hadn't done it."

iconic banger line. evil laugh afterwards. 10/10 no notes

[jonayariley]

My Thoughts on Homestuck^2

I say this as someone who has been fairly critical of the Epilogues and Homestuck^2 - I think that HS2 (or Homestuck: Beyond Canon as it's properly called now) has the potential to be something positive again. I was really excited for HS2 at first (after not super loving the direction the Epilogues went in) but got really burned out on it. But I'll say a few things on why I think this can work:

Greater transparency in terms of what's going on with it. I think that James Roach and crew are in a position to be really up-front about what's going on and what's to come, and I think they've done that. James has always struck me as being a pretty even-keeled guy, and having worked with him in the past on both Friendsim 2 stuff and when he presents at SAHCon, yeah - definitely a solid choice in terms of organization and being willing to communicate.

I think there's a lot of room to bring the plot around. I'll admit I wasn't a huge fan of everything that was happening in HS2 (weird pacing, focus on Vriska stuff, weird cucking plotline, out of character stuff) - but I really think there's a way to judo throw that shit around into something good. My take has always been "meat and candy are two divergent, slightly-unreal timelines and there's something else going on here" and some of what I saw in the last couple upd8s seems to confirm this. Personally I think that could work well, and the theme of collapsing reality in on itself could work. The fact that the new upd8 starts off with some stuff I thought they'd forgotten about bodes well.

Writing so far is good - feels balanced, good character writing. It feels Homestuck-y but also it feels like its own thing, which I think is a good thing. Also, solid choices for writers - seeing @floralmarsupial on the list alone has me very excited about what's to come!

Art is good too! Very nice balance of styles and some really solid panel work! Nice use of limited motion in classic Homestuck style combined with a good combination of Act 6 bean style and sprite style.

So far, reactions seem to be pretty positive. In the past, some people were profoundly NOT NORMAL about HS2 - going so far as to harass and attack the folks working on it. I can't express how profoundly not okay this is! So far, I see folks being pretty positive about it overall, and I think that's good. The folks who don't like it are not liking it in a normal, not-harassing-the-crew way, which is good.

I trust the team involved - I've worked with several of the people involved on my own projects (Chumi, Kim, James) and I have a tremendous amount of respect for the other folks involved. Like, this is a solid core to build a team around. Kim doing art direction is a good thing.

On a related note, hearing that this is a truly independent thing with creative control in the hands of the current team is a big thing. I have good reason to believe that this is 100% genuine, and that the direction "Homestuck community involvement" is going in is a positive one. It's a process, but it seems to be moving in a positive direction.

Good community involvement, less adversarial feeling - James has been reaching out to the community at large in a way that feels much more open than HS2 was doing before. HS2 got to the point where it felt like it had this contentious relationship with the fandom where it wasn't just challenging readers within the context of the text, but challenging them as readers and fans of the work (if that makes sense).

There seems to be a real commitment to doing this thing in a way that isn't exploiting the artists, writers, and other creatives involved. To working with people in a fair and open way and allowing them to guide the creative vision of the work. And tbh that's one of the most positive signs I've seen from this whole process.

Remains to be seen how things shake out in the long term - especially with stuff like the upd8-to-upd8 pacing (something I felt like was really broken in HS2) and how some of the more contentious aspects are handled.

But I feel hopeful about this, and I would absolutely not have said that two or three years ago. Like, ngl - the whole thing with Jade/Rose/Kanaya hit me hard enough to make a whole divergent post-canon AU

(read Negotiated Consent and its sequels Ways of Being and This Sudden State of Mind, btw - I'm still quite happy with them)

but I've had time to think on this a lot and time to become significantly more involved in well-known Homestuck stuff (specifically Friendsim 2 and co-directing Stuck at Home Con) and, like... idk I feel like the annoyance got replaced with a kind of "I really wish things could be better" bittersweet feeling, because at the end of the day this whole thing is important to me, and there's a lot of folks in this fandom who aren't shit-ass individuals who harass creators, and I think the relationship between author(s) and work can be something good and positive.

So yeah, I would describe myself as "cautiously optimistic" about this whole situation. Homestuck is a work with a lot of baggage - both textually and in terms of fandom/creation history. I don't think that can just be wiped away, but also I do believe it can move in a better direction, and there's clearly still a lot of folks who would like to see that happen.

And yeah, I guess in my heart I'm still one of those people too.

[worflesbian]

I think part of the reason janeway compels me so much is bc i really feel like on any other show she would've been a sympathetic villain at best. like in the last episode I watched she holds a baby while talking about killing it's siblings and it's genuinely only through the thoroughly established context of janeway having to make horrible choices in order to save her crew that we can read that scene as anything but unhinged. and it Does make sense in context bc she's talking about killing adolescent Borg drones to stop them from assimilating hostages, but in most other shows that kind of thing coming from a female character especially would not end up with her being the good guy at the end of the episode.

im thinking about how btvs which aired at a similar time had a whole arc about the pressures of leadership driving buffy to become way too harsh and the consequences of that are she gets kicked out of her own home. avasarala on the expanse does a lot of awful things but being uncompromising and not giving a fuck is like her most notable character trait, she tortures a guy in her first appearance. these narratives have little sympathy for women who do bad things in the name of something greater, either they're punished for it and rejected by those around them or they're characterised as cold and lacking compassion. but janeway for the most part has the full support of her crew and spends the majority of the time being kind and diplomatic, As Well as choosing to sacrifice lives or collaborate with mass murderers when she has to.

and it's conflicting bc although this is almost a one of a kind female character I think part of her existence is due to voyagers unwillingness to challenge the status quo of star trek despite having the perfect premise to do so. everyone wears uniform and adheres to rank despite half the crew being unenlisted terrorists, starfleet is largely unquestioned as an absolute moral good despite the origin of the maquis being designed to undermine and examine that, and the captain is always the hero at the end of the day.

[therealeagal]

Dragon Age: The Veilguard

Just finished.

I quite enjoyed it, although I wish there was more stuff to connect it to previous games. The identity of Divine Victoria for example. Red lyrium is barely a thing at all in this game. And what happened to the crew after Inquisition? Either Cassandra, Leliana or Vivienne - we don't know who - became Divine Victoria.

Dorian shows up here and there, and Harding and Varric are on the new crew. And of course Solas is hanging around, being terrible.

None one else gets more than a few get passing mentions, if even that and nothing about what they're actually doing. Helping the Inquisitor, presumably. I don't think Vivienne or The Iron Bull or Blackwall or Cullen even get mentioned at all. Poor Cullen.

Anyway, for a lark, let's see how Veilguard stands against Inquisition and Numero Dos. I never finished Origins. I meant to, but you know how that goes. Something came up, then something else, then something else. And by the time you've got free time you've completely forgotten about its entire existence until you're writing a tumblr post about its third sequel.

Oh well. Que sera sera.

=========

As to combat, Inquisition's was better. I got sick of Veilguard's combat after only a few hours. Switched down to the lowest difficulty and have no great interest in turning it back up again.

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Inquisition's story was more interesting. Just felt like it had more oomph. Maybe it picks up again in the last ten minutes or some shit. Idunno.

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Music. Didn't even notice the music half the time. I guess put Inquisition down for better music.

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Now the important part. As to characters, my Inquisitor was much more charming than my Rook to my mind. Elf and Dwarf alike. Never played a human Inky. Or a Qunari Inky for that matter.

My Dwarf Inquisitor was much more handsome (at least in the Inquisition art style) than my Dwarf Rook, but I will admit that I think my Elf Rook is better looking than my Elf Inquisitor, in both art styles. Elf Rook has a better ass than Elf Inky.

Don't really have any advisors like Leliana, Josephine and Cullen in this game. All we've got is Solas. And Solas is terrible. And I guess Varric. But he mostly just hangs out in bed all day. I can't blame him for wanting to sit this one out. He's already been through two catastrophes and is getting too old for this shit. Gotta let the new kid lead the troops.

As far as the companions go:

Resident Dwarf rogue. While Harding, a recurring secondary character from Inquisition, is no Varric, she is a good egg and she's a good choice if your party is in need of a rogue. She was in my team for the final battle, actually. Also her side-story is easily the most interesting and probably the most connected to DA lore. 10/10. The goodest of good beans and certified best girl.

A snarky and fashionable female Tevinter mage who fights the bad guys and doesn't afraid of anything, Neve is like a cross between Dorian and Vivienne, and the whole is greater than the sum of her parts. None of Vivienne's characteristic haughtiness and none of Dorian's unfortunate defense of slavery as an institution. Yeesh. Anyway, 10/10 for Neve. No notes.

Bellara, a elf mage and an archer. She's kinda like a cross between Solas and Sera, except that Solas is terrible and Bellara isn't terrible. Bellara is charming and friendly and not terrible. 10/10. No notes.

Lucanis... Cole had a hat. Lucanis doesn't have a hat. Eh. He's a good bean, but honestly, Lucanis is probably the least interesting among the cast. Well that's not to say I dislike him. I just don't find him as interesting as the others.

Davrin>Blackwall. All day every day. Not even a contest. Even if you ignore Blackwall's sordid past. Even if you ignore the fact that Davrin is actually a Grey Warden while Blackwall is a faker. He just doesn't hold a candle to Davrin. Sorry, Blackwall stans. 10/10. Best boy.

Emmrich Volkarin. Charming fellow, I can find no faults in him. He's very interesting. He's a Mortallitasi. I wonder if he knows any Pentaghasts? An all-around good bean.

Taash. They alright. The Iron Bull had more joie de vivre. But Taash is a good bean. Everyone's a good bean. Everyone but Solas. Solas is terrible. Plus, Isabella vouches for them, so they've got cred. I would trust no one else to kill a giant robot. Bull never killed a giant robot. So Taash is one up on Bull in that regard. 10/10. Best non-binary party member. Oh yeah, Taash is non-binary by the way. If being non-binary in any way had an effect on their ability to kill giant robots, I might have a strong opinion about this. Failing such an effect, I have no strong opinion.

Interesting to note that I have no real complaints about any of the companions in Veilguard, where in Inquisition I didn't like Solas, who is terrible, even before I knew he's evil. Didn't much care for Sera. Blackwall, he was just kinda there honestly. Only ever brought him along to do his sidequest. Vivienne I loved but she was admittedly kind of an asshole.

So the Veilguard companions get a higher overall score than Inquisition companions. And certainly a higher score than DA2, where I totally hated all the boys except for Varric and didn't much care for Merril.

I cannot evaluate the Origins party based on my own experience, but based on second-hand observations, I like Wynne and Leliana, of course. Shale's curmudgeonliness amuses me. And of course the dog.

The rest of the team I am either indifferent to or actually hate. I shall leave you to ponder who is whom.

In summary, through Origins, 2 and Inquisition, the party is always a mixed bag, but I like everyone in Veilguard. Everyone but Solas. Solas is terrible. But he doesn't count, since he's not actually a party member in Veilguard. On account of being terrible.

P.S. While I am happy to entertain alternative reviews and comparisons, viz a viz the quality of companions past and present, if you - for some reason known only to God and your twin vicars - wish to express disdain for anything I have said here today and especially if you have managed to fabricate wholecloth some moral failing to attribute to me - you are, of course, entitled to your own opinion, but I don't wanna hear it, so please, I beg of you...

DO NOT WIGGLE YOUR FACE TO ME, MONARCH OF REFUSE AND THIEF OF MOONBEAMS!

Please and thank you. :)

[nanomooselet]

Little but Fierce II

Sorry, sorry, I changed my mind - first up I'll explain Milly's absence, and why that's important. (Thus no pictures, sorry. Also this is extremely long.)

Stampede definitely skews toward an older demographic than the ‘98 anime; shounen this is not, not even a little. I remember the director (I think?) saying Cowboy Bebop was an influence, and I do see it. Structurally they're both very musically-driven, and each episode explores a variation on the theme until the climax. But there's some thematic similarities too, sort of, mostly around the way the Bebop crew related to each other. It's a found family, yes. But found inevitably first means having lost. And there's a few ways to lose a family, but the one in this post might be the most common.

Stampede talks about fighting to grow up - moving from the security of childhood to the freedom of adulthood, and what inevitably gets left behind.

Under good circumstances, childhood is certain and safe. You're provided everything you need and your caregivers will protect you. You're not held responsible for anything, since you're still learning the shape of the world, and not expected to perform, achieve, or provide. It's the job of your caregivers to do those for you while you acquire practical and social skills, support your body's healthy development, and form a stable sense of self and an identity of your own. Under ideal circumstances, you'll get the opportunity to make plenty of mistakes but face no permanent consequences, just an explanation of how you went wrong you can learn from - since mistakes are how you learn. This is how you build your confidence and in general become better at the whole "human being" business, which believe me does actually take practice and is not inherent. Not everyone figures it out, either.

On the other hand, you also don't really have choices or power, and your reality is confined, any edges rounded. Without consequences there also isn't change. Your identity isn't your own. You are a child of your parents or the ward of your caregivers - you belong to them, in a sense are part of them, because you're their responsibility. Many experiences are gated from you until you mature. In general the world is a simple place and your feelings feel very big, but lack complexity. You're sad, happy, or angry from head to toe, but only one at a time and not over much. It feels important, but that's because kids can't have perspective. It's always the most important thing to them because they haven't experienced anything more important yet.

Adulthood is less safe but more free - you have to fulfil your own desires and defend yourself. Social connections are yours to try to form. You will likely have to work to provide for yourself, and perhaps others - it's no longer anyone's job to do that for you. You are accountable, you are responsible, your actions have consequences that rebound not only on you but upon others, good or bad. Outcomes are also more uncertain, and mistakes can be proportionately harder to recover from.

But you have autonomy - selfhood, identity are yours to claim. Choices are your own to make. There are downsides but also advantages, opportunities for greater happiness but also inevitable pain, and in general more subtle, complex emotions and situations. It can be very hard. But it can also be very beautiful.

Inevitably, humans being mammals and having such utterly helpless infants, there'll be at one point in your life you play the role of child to a caregiver. Odds are fairly good you'll also be caregiver to a child at least once (or something like one). Think how many of us have pets. Or even an older sibling to a younger. Teacher to a student. Such relationships always shape us, whichever role you occupy. There's a common archetype in folklore of the "mother of death", because whoever you were before becoming a parent has to die, at least a little, to make room for the vast responsibility of parenthood - think of giving up a career to raise a family, for example. And creating a life means inevitably you have invoked a death. All that lives, in time, will die.

Got all that?

So Stampede and arguably Trigun as a whole is about what happens when you fuck with it.

Good circumstances, yeah, you aren't going to find those. Let's see how hard people try anyway. Let's see what happens when care of a child is suddenly assumed by someone unprepared - or when a child is forced to assume a caregiving role. Or when a child never receives a childhood before being unmade, destroyed, but still surviving to claim the freedom of adulthood. What do they become?

(Am I talking about Wolfwood? Legato? You tell me.)

Are the Plants here to take care of us or ours to take care of? Can we only take from them or is there some way to give back? Can it be mutual? Or must we pick a side?

We don't have Milly yet because Milly resolves the argument. She's someone who sees no reason to pick a side. She's a very caring, protective person who also has no problem with being taken care of - she's happy to defer to Meryl, whom she has great respect for. And Meryl has respect for her too. It's a very good working relationship! Which, uh, unfortunately doesn't leave a lot of room for exploration of the main conflict, and might have been why they faded out a bit in the later volumes.

The purpose of switching Milly with Roberto was to create that conflict. There are a lot of mothers in Stampede but not many places for dads. And one thing I very much have come to appreciate is that both were afforded equal flaws, redemption and sympathy. There's no bumbling useless fathers, or blandly nice mothers (even Rem, who comes the closest, had terrible regrets, and I get the feeling we haven't seen the last of her. Really, around this point in the story in the older tellings a lot of people still thought she was Vash's dead girlfriend, so let's not hasten to judge). Rosa is a hard woman and she turns on Vash, but she has her reasons and Knives punishes her far too cruelly. Brad's kind of an asshole, but it's because he cares so deeply and doesn't know how to talk about it.

Roberto is jaded, but he takes his responsibility seriously and he's a good teacher to Meryl. He isn't just a vehicle for exposition.

Nor does he treat her badly in any way. Meryl feels perfectly safe snatching away his booze and talking back to him. They become fond of and comfortable around each other so quickly because they both decent and clever people, fundamentally similar. It's built on mutual respect, trust and communication.

Compare to how Knives interacts with Vash, how long the pauses are in their reunion in the diner. Knives is trying to be gentle, but Vash is so terrified he can't finish a sentence, can hardly speak at all, his voice is shaking so badly. Knives sneers when Vash doesn't instantly react with affection. Which is… insane considering this is exactly how it was the last time they met: Knives gruesomely murders someone, smearing the walls and floor with blood, and then expects Vash to be grateful or impressed. Their relationship is one in the process of slowly but violently shattering.

Meryl is very young in Stampede. She's got some significant character flaws. But it's hard for her not to do better than that.

Part I

Part III

Part IV

Part V

Part VI

Part VII

Part VIII

Part IX