#he has a NARRATIVE SUPERPOWER

[ilions-end]

i’m obsessed with how quintus’ need to make posthomerica so morally edifying accidentally makes him portray the most intriguing odysseus i’ve come across outside of homer

quintus is notoriously uncomfortable with heroes not acting upstanding all the time, or having conflicts with each other, so achilles and ajax and diomedes and neoptolemus and everyone else aren't really allowed to have complicated feelings about anything, and if they disagree with anyone, the Correct and Moral opinion always convinces everyone within a couple lines and then they're all friends again.

but quintus has to collect (mostly) all the events that take place between the iliad and the odyssey in one straightforward narrative, including several shady and self-serving things odysseus does, so quintus' solution is... he writes them but just doesn't comment on them. none of the characters seem to notice whenever odysseus lies or omits part of the truth or follows his own agenda; the text itself lets those moments slide past without acknowledgement. and all the while of course odysseus is also brave, and strong, and passionate and tactically brilliant. he IS undoubtedly a hero.

it makes for such a crazy metanarrative because on the surface odysseus is following the same kindergarten morals everyone else is, but secretly he's playing his own game! it feels like i'm a character in the story because i'm listening to odysseus describe something that happened in an earlier chapter, and i'm the ONLY ONE who goes "wait, that wasn't what happened. ...was it?" it makes me diegetically think "oh okay i need to keep an eye on this guy, he's got everyone else convinced". he's not evil, he's not a villain, he has a ton of positive attributes! but he's the only one in the story who knows how to lie (he even seems to lie TO the story), and that makes odysseus hold so much potential power and danger.

[tape-deck]

maybe im just too mentally ill but the way every character in the bright sessions takes one look at damien and immediately goes This Guy Is Evil Incarnate Scum Of The Earth kindaaaa owwie hurts me

[235uranium]

for a character to be "of all time" they need to have smth that distinguishes them from the usual archetype they fulfill in an insane as fuck way. they need to leave you reeling with their every life choice. and those choices are always in character which increases the degree of insanity.

[libraflyter]

Let me introduce you to the Superman: Secret Identity miniseries, in which a boy from Kansas in a world like ours is born to Mr and Mrs Kent and they just had to name him Clark.

An adaptation of Sherlock Holmes set in a world in which the fictional character/literary juggernaut Sherlock Holmes, and all the subsequent adaptations thereof, still exist.

Sherlock Holmes (pronounced Holl-mess, as he is constantly reminding people) just had the misfortune of having parents who really liked the books, and his attitude towards his fictional counterpart is pretty much the same as that of Sir Arthur Conan Doyle.

Sherlock runs a Youtube Theory channel called Mysteries Unwrapped with Sherlock Holmes. He has received no less than seven cease and desist letters from the Conan Doyle estate, all of which he has so faded managed to rebuff by pointing out that that's literally his name.

(No he won't change his name. He's Sherlock Holmes the real live human person. Let Sherlock Holmes the non existent fictional character change his name.)

John is Sherlock's flatmate. Sherlock almost refused to live with him once he realised that it would mean staying with a medical student named John, and only gave in once John pointed out that: a) he's a biomedical student, which is completely different from an md, and b) his surname isn't Watson.

It's now been three years, which is long enough for them to have developed a genuine friendship, and for John to have a) started working towards his PhD in biotechnology, and b) for him to start dating somebody with the surname Watson.

Sherlock can feel the narrative closing in.

His Youtube channel is meant to be focused on lost media, fan theories and stuff like that, but he keeps accidentally stumbling upon and then solving genuine crimes.

His brother Mycroft may or may not have chosen that name after he transitions specifically to annoy him.

He doesn't even live in London, but somehow the only flat they could afford was on a street named fucking Baker Street.

Sherlock Holmes and the Unescapable Power of the Narrative.

[cucumberteapot]

Okay, so I've read the Spider-man: Across the Spider-verse artbook, and there is this fantastic passage on Earth-42 that gives context to the dimension, Miles G., Uncle Aaron and the Sinister Six.

“Miles comes face to face with a parallel world version of his own in Earth-42 – an alternate reality where he never gained superpowers and where his Uncle Aaron is still alive. “We wanted to craft this moment where Miles encounters this powerful figure in his life that he loved so much and he lost," says director Justin K. Thompson. “That's when he realizes that he is not really in his own dimension, as well as the gravity of what he has lost. In this reality, Aaron has had to shake off his life of crime and became a surrogate father figure to Miles.”

The artists changed Uncle Aaron's outward appearance to reflect this new reality and convey how he has changed. The Uncle Aaron of Earth-42 has a little gray in his beard. His clothing still has the old “cool streetwear” vibe, but he has a more sophisticated and older look. In this alternate reality, the Sinister Six have been able to flourish and take over the world. “We wanted to create a world where it felt like Aaron and Miles G. Morales [this reality counterpart to Miles Morales] are the only heroes.”

It's a much darker version of Miles' original home. So, we looked at comic book artists who epitomized that sort of noirish world - artists like Frank Miller, Sean Gordon Murphy, John Polygon, where there is heavy use of black and colors sort of recede behind the dark shadows. The powerless version of Miles is still capable and efficient and has great acrobatic and physical prowess. We also needed Miles to feel trapped in this dark world. We wanted to leave the audience with the burning question: ‘How is he going to get home?’ It was just exciting to see the development of this world to underscore all of these narrative choices we were making.”

[souliebird]

[[and then I met you || ch. 27]]

Series: Daredevil || Pairing: Matt Murdock x Fem!Reader || Rating: Explicit

Summary:

A one-night stand years ago gave you a daughter and you are now able to put a name to her father – Matthew Murdock. Everything is about to change again as you navigate trying to integrate your life with that of the handsome and charming blind lawyer’s and Matt realizes he needs to not only protect his new family from Hell's Kitchen, but from the world.

chapter masterlist

Words: 4.4k

ao3 link

Police Arrest Three After Mass Protests in LA County

By C. Grant

Three people were arrested in Pasadena, California yesterday after a crowd gathered to protest the death of Sheila Pom. Police say the three individuals, whose names have not yet been released, appeared to be Enhanceds attempting to agitate the crowd. Witnesses claim one of the individuals was creating sparks with their fingers and threatening to start a fire, while the two others encouraged the behavior. Police have made no comment about these arrests and all questions about the incident have been redirected to a now defunct phone number. 

Sheila Pom was killed in an officer-related shooting two weeks ago after neighbors reported her as a Dangerous Individual under the new Sokovia Accords Act. Pom, 23, worked at her uncle’s auto body shop as a mechanic while also attending online classes to get a degree in Engineering. She was also a telekinetic - someone who can move objects with their mind. 

Pom was known to not be shy about her gifts. Pom was seen frequently lifting cars and trucks within garages without the help of equipment and is rumored to have once righted a tipped over semi-truck. Neighbors became concerned when Pom began using her gifts at home.

“We’d come home, and things would be floating up and down the street,” one neighbor said.

Another claimed Pom was unstable, and when she would become upset, things around her would begin to shake.

“I thought it was an earthquake until my TV hit the ceiling,” a source who lived in the same building Pom told GKTV, “I learned the next day her boyfriend broke up with her.”

Officers were called when Pom refused to return a motorcycle to the ground while working on it in a residential neighborhood. After a brief standoff, officers fired two shots, striking Pom in the head, and killing her. 

Pom’s family claims she was unaware of the officer’s presence, as wireless earbuds were found near her body after. Pom was known to listen to music to block the noise of machines. 

Protests began after the officers involved in the incident were cleared of any wrongdoing. 

----

A full-page ad takes over your screen, and instead of continuing to read the depressing article, you close the tab.

There has been a palpable unrest in the news cycle the past week that is starting to leave you with an uneasy feeling in your stomach. You’ve noticed a shift in the general narrative tone and terminology used when discussing people who have superpowers. 

Before Sokovia, before Lagos, before Connecticut, the morning shows would bring on people with amazing gifts and gently joke about them joining the Avengers as they made water fly around the set, but now those same hosts debate if they should be allowed to have the right to privacy. ‘Enhanced Peoples’ has been shortened to just Enhanceds and is now spit out like it is something dirty. 

You don’t know when the conversation stopped centering around heroes and vigilantes and started being about everyday people, but it scares you that the change happened. There seems to be no official power scale about what is deemed ‘dangerous’ and your mind keeps zipping all over the place trying to justify different lines of thinking.

Does Matt fall under the category of Dangerous? 

He is a vigilante, so by default the Accords are directed at him, but is it doubly so? If he was forced to reveal himself to the government, would they require him to wear a tracking device? Or would they try to lock him up?

Could he fight it in court, or would they whisk him away in the middle of the night and you’d never know what happened?

If Matt is deemed Dangerous because of his senses, and not just because he is a vigilante, would Minnie be considered the same?

With how intense and angry everyone is becoming you could see yourself having to take her in to be tested.

To be monitored. 

And she is just a baby. 

You can’t imagine how others must feel - people who are older, who are just trying to live their lives. The girl who was killed was just trying to fix her bike, like millions of other people do every weekend. She wasn’t going to other countries to fight terrorists. She wasn’t trying to use her powers to rule over others. She wasn’t hurting anyone.

But she was different, so they killed her.

“Mommy! Mommy! Mommy! I need help!”

You’re ripped from your spiraling thoughts and look across the room to where Minnie is sprawled out on the floor. Her Starkpad is in front of her, and she’s set up Pig and Scooby so they are also peering down at the device and you know exactly what she is doing.

It is the same thing she has been doing for a week straight - playing a bootleg Muppet’s math game. 

Since meeting Spider-man, all your little Mouse has wanted to do is learn math. She keeps saying she wants to impress him and make him proud, and you are in no way going to discourage her. Every day has been filled with counting and addition and subtraction and you are a bit amazed she has stayed so focused. 

You are not going to complain at all about it - you are getting time to yourself while she has been glued to Elmo and Kermit. 

You leave your phone on the dining table and head towards your daughter.

“You need help?” you confirm as you crouch beside her. The screen shows a Muppet you don’t recognize, along with various numbers floating around them, and up at the top, the equation that has your little Mouse stumped. 

“I need help!” Minnie repeats as she scrambles up off her belly and into sitting. “I don’t have enough fingers!” 

She holds up both her hands to show you all ten of her itty-bitty fingers and you make a sympathetic noise. 

Mouse has been getting pretty good at using her fingers to help her with addition and subtraction, but on only one hand. She uses the index finger on her right hand to help count by pointing at each finger and hasn’t quite worked out she can use her fingers to point and count. That is okay, though, as you are happy to lend yours to her important cause. 

“Okay, how many fingers do you need?”

You hold out your hands and she instantly begins to manipulate them. 

“This one…this one needs three! One, two, three!” She pushes your thumb and index finger down so the other three remain up, then she pushes down the pinky of the other hand. “And this one is four!”

“So, three and four? What are we doing with three and four?” You ask, trying to not laugh at her determined face.

“We adds them!” She chirps, before starting to jab at your fingers, “One, two, three, four, five, six, seven! That’s seven fingers! Mommy, it’s seven! Three plus four is seven!” 

“That’s right, it is seven. Which number is seven?” You direct her back to her game, where she triumphantly picks the correct symbol. The Muppet congratulates her before presenting a new equation. 

Minnie squeals in delight before ripping the device off the ground and shoving it in your face, “I know this one! Mommy! I know this one! It’s three! Mommy! It’s three!” 

You can’t even process what the question is before the screen is out of sight. Your daughter holds her Starkpad above her head, treating it like some war prize as she starts spinning and dancing around the living room. 

“It’s three! It’s three! It’s three!” 

You laugh at her antics, heartwarming at her pureness. How could anyone ever think she’s a danger?

“Are you sure it’s three?” You tease as you watch her. 

She whips around to you, eyes scrunching up into a glare, and barks, “It’s three!”

“Okay, okay, it’s three.”

You push yourself up into standing just as Mouse returns to her spot. She drops her Starkpad to the ground a little harder than you would prefer, but that is why it has a big bulky case. She plops down in front of it and happily smacks the number three that is floating around the screen.

You let yourself watch her for a few seconds, silently bombarding her with all the love you feel for her. You want to wrap her up and live in this bubble forever.

Except, there is one element missing from your perfect moment. You wish there were a pair of arms wrapped around your waist and a chin on your shoulder. You want to lean back against a muscular chest and lose yourself to eternity like that. 

Instead of indulging those thoughts, you tell yourself to stop fantasizing and you make your way back to the kitchen to check on dinner.

Vegetable curry has been simmering on the stove for most of the day. It has been a while since you had the energy to make the dish from scratch, but you had a craving this morning and went all out. You’ve made curry for Minnie before, and she did not complain - though you think that is because her portion was mostly rice and hot dog cuts. You plan to do the same again tonight, and if she wants more sauce, you’ll give it to her. 

You check your seasonings and give everything a stir to make sure nothing gets stuck at the bottom of the pot. The rich aroma tickles your nose, and you are glad you don’t have to wait much longer to treat yourself.

As you debate adding a pinch more salt, you catch Minnie sneaking towards you out of the corner of your eye. Her movements are slow and dramatic, and you pretend you don’t notice her. This ruse works, and you appropriately jump in fear when she suddenly tugs on your shirt.

“Up!” She demands and you oblige, scooping your daughter onto your hip. As soon as she is high enough, she cups her hands around your ear and leans into whisper, “Daddy saids the food smells yummy-yummy.”

She quickly dissolves into giggles, and it is infectious, so you end up smiling. 

Matt hasn’t been over for dinner in a hot minute, and you are hoping to have a nice quiet family night, before he goes out on his Patrol. The plan is to watch a movie after your meal and Minnie has already prepared for this by dragging multiple blankets out to the couch. You just know she is going to demand a cuddle pile, and now that you and Matt are intimate, it isn’t something you are nervous about. 

You just want to have a good time.

“Can you tell Daddy everything is almost ready?” you ask, even though you know Matt can probably hear you just fine. 

Mouse, always eager to be helpful, nods and relays the message directly into your ear. You try to not grimace, and so it won’t happen again, set her down on the ground. 

“Can you plug in your Starkpad so it can sleep for the night?” 

She streaks off to do her newly assigned task, leaving you to start setting the table. When you were at the store, you bought Matt a bottle of beer - a brand you know he likes - and you set it at his designated spot. You’ve grown accustomed to just drinking water and juice, but you don’t want to push that on to him - not when he’s a guest and coming over after a long day of work. 

As you start to make everyone’s plates, you hear the water in the bathroom turn on. You know Minnie knows the routine for getting ready for dinner and you just hope she isn’t trying to wash Scooby’s paws again. You are worried he’ll end up moldy and you aren’t sure what you will do if that happens. You peek into the living room and are relieved to see your daughter’s best friends have been relocated to sitting on the coffee table, facing the television. 

You finish setting everything up just in time, it seems. Minnie runs from the hallway right to the door as you go to wash your own hands, and you rush to get all the soap off so you can help her open the door. 

Matt is standing on the other side, looking handsome as ever in a gray suit. He looks like he’s had a busy day - his hair is windswept, and he is sporting a strong five o’clock shadow. There is a garment bag draped over his arm and his saddle bag looks a little bulkier than usual and you wonder if he ran some errands on his lunch - picking up his dry cleaning and such. 

You barely have time to take in his appearance before Mouse is launching herself at him.

“Daddy!” She shrieks and Matt oh so easily swings her up onto his hip. “Daddy! We’re having vege-tuhble kermies for dinner! I helped make it! I cut up ALL the carrots! By myself!”

“By yourself, huh?” Matt confirms, a bright, warm smile taking up his entire face. “Soon you’ll be making us dinner.”

You step aside so he can come in and help to take his things to hang while Mouse soaks up his attention. 

“No! Mommy makes dinner because…’cause she makes the bestest foods. I just help!”

“You are a very good helper,” you interject, “You keep a very clean workstation. A professional chef would be proud.”

Minnie beams at the praise, then a microsecond later, is wiggling in to be let down. Her feet hit the ground and she takes off running back toward the living room, probably to collect something to show off to her Daddy. 

Matt takes the small break to turn his attention to you. A hand goes to your cheek, and instead of a brief ‘hello’ peck, he kisses you like he wants to turn and pin you to the wall. It catches you off guard, but you easily melt into it. You clutch at the lapel of his suit jacket and try to not moan as he nips at your lips. You open your mouth for him, but being the tease he is, he pulls back just enough to whisper against you.

“Been thinking about that all day.” 

The words send your blood rushing - some north to your cheeks and the rest to your cunt. 

He’d been thinking about you? About wanting to kiss you? Or has he been thinking about more than that - because you must admit, you’ve been thinking about it. You’ve had more than a few thoughts about what you want to do to him the next time you two are alone together and those thoughts were certainly very explicit. 

“Matt…” you totally do not whine out but instead of replying, his grin just turns cocky. He pulls away as Minnie returns to the entryway, and you decide you need a drink of your water. You escape and Mouse starts showing off her latest masterpieces to Matt. 

Food coloring, cotton balls, and popsicle sticks have proven to be a massive hit and Minnie has made a whole collection of things for Matt - there’s butterflies and flowers, a house with clouds, and various abstract pieces. You are sure his office is already filled to the brim with his daughter’s art, and you would not be surprised if he started to hang things from the ceiling when he does run out of room. He seems to treasure every little thing Minnie has given him and it warms your heart so much. You hope that love never runs out. 

Somehow, Matt ushers Minnie back to the dining room while she shoves different papers into his hands and gets her up in her booster seat. 

“I’m going to put all these in my bag, so they don’t get dirty or lost, okay?” He tells Minnie, who nods way too enthusiastically. 

“Keep them clean!”  And then, just like that, she switches from being excited her Daddy is there to being a hungry toddler. She whips around to face you and asks in an almost impatient manner, “Can I has my hot dogs now?”

You give her the go ahead as Matt returns to the table and takes his place. You quickly tell him the placement of everything, including his beer, then quickly add, “If you don’t like it, I have a few different things I could make you. Or we could order something.”

A brief panic runs through you when Matt scoffs. You think you’ve insulted him - having him come all the way to Chelsea to eat a dinner he won’t enjoy and having to find a substitute. 

“I love curry and this smells delicious. I wouldn’t trade it for the world - in fact, I’m hoping some of those leftovers on the stove are for me to take home and lord over Fog tomorrow.”

You flush at his sweetness and mumble out you’ll pack him some to go. This seems to please him, and he starts to dig in. Ever the little parrot, Minnie mimics him by shoveling food into her mouth with a big grin and you can’t help but laugh a little. 

“It’s nummy!” Your little one declares, and even if she’s just eating plain rice right now, you’ll take it as a win. You know well she won’t eat what she doesn’t like.

“Speaking of yummy,” Matt starts, slow and deliberate, with his head angled towards you, “I was hoping we could go somewhere yummy together.”

You blink slowly at the statement, rolling it over in your mind and trying to dissect the meaning. Did he want to go somewhere for dessert? Maybe get ice cream or something? “Somewhere yummy…?” 

“Mhm,” he hums, then his smile becomes a bit more sly. Even though you know it isn’t true, you feel like, behind his glasses, he is hungrily looking you up and down, “Somewhere like Uvas.”

The name doesn’t automatically generate anything for you, but after a moment, it dawns on you. Uvas in a Spanish restaurant near Central Park known to be high end and impossible to get into. It’s been in the local tabloids a few times for turning away minor celebrities who don’t meet the dress code. You’re mouth parts slightly in shock.

“What’s Oo-vuhas?” Minnie asks around her fork, her big eyes looking between you and Matt. “Do theys has yummy foods?”

“Oh, they have yummy food,” Matt teases. He then leans forward a bit in his seat and stage whispers to her, “It’s where I want to take Mommy for a date.”

“A date?” Minnie scrunches up her face at the word while your mind is still spinning. 

Matt wants to take you on a date? To Uvas? You have never been anywhere that fancy or expensive as a date. Hell, you’ve never been somewhere that fancy, period. The nicest date you’ve ever been on was Hard Rock Cafe - which says a lot about your dating life.

“A date,” Matt confirms, smug and knowingly scheming. You can hear it in his voice as he tells Minnie, “That is where Mommy and Daddy go and have dinner together as grown-ups.”

Up goes Minnie’s hand into her mouth, but it stays there only a split second. Her eyes get impossibly bigger and filled with wonder, and she whispers, “Like Lady and Tramp?”

“Exactly like Lady and Tramp.”

“Mommy!” Minnie says a little too loudly, pointing her fork at you. “You gotta go to Oo-vuhas and be Lady and Tramp! You gotta!”

And at that moment you know you can’t say no, and that Matt knows that. You can’t tell your daughter you don’t want to be like Lady and Tramp. Not that you don’t want to go on a date with Matt - the idea gets you giddy and makes your stomach flutter - but you thought if it happened, it would be a coffee or something. Not somewhere where you can’t even afford to look at the building. The idea makes you a little nauseous, because you are sure you’d make an absolute fool of yourself.

But Matt looks determined and sure of himself. You are certain he asked in front of Minnie so that she could help bully you into saying yes to such a lavish date. 

Luckily, your mind is working in overdrive, and you choke out, “I don’t have anything to wear. They have a dress code, don’t they?”

You don’t expect Matt to push his chair out and get up. Your throat instantly tightens up and fear shoots up your spine. Have you offended him? He clearly wants to do something with you and you’re over here hesitating. You must be coming off as a complete bitch. 

You start to stand up yourself as Matt disappears into the entryway. You don’t think he’d just leave without saying goodbye to Minnie.

Maybe you can talk to him - explain that somewhere a little less grand would be ideal to start.

Before you can start to follow him, Matt is coming back to the table, holding up the garment bag he brought with him, still looking like the cat that got the canary. 

“I thought you might say that,” he starts, his voice almost a little musical, “so I got you this.” 

You stare dumbly at him, shock and confusion overtaking your system. 

He got you something to wear? To Uvas? 

No one has ever bought you clothes before - except your parents. Even when you were pregnant, the small amount of gifts you got were all for Minnie. 

You distantly hear Minnie start saying something about presents, but it is all muffled under the sound of blood pumping through your ears. You step forward hesitantly and reach out for the zipper of the bag, your hand shaking slightly.

You expect it to be a joke. You’re going to open the bag and there’s going to be a clown costume inside, or a skimpy dress people like arm candy to wear, or something akin to a Burka. 

You don’t expect a black floor length sheath gown. The silhouette is simple, but you can tell just by looking at it the quality of the dress is top notch. The fabric has a nice weight to it, and it is incredibly soft to the touch that you have the distinct feeling that it did not come from a dress warehouse or a department store. 

This type of dress would come from a boutique uptown and would cost a few hundred dollars. 

You are so caught up in admiring the dress, you don’t notice Minnie come up beside you until she is also touching the dress. Panic that she might have crumbs or curry on her fingers runs through you, but you force it down.

“It’s like a princess dress for Mommy!” Mouse cooes and you feel your face start to heat up.

You’ve never worn something so nice before and certainly nothing that would be fit for a princess, but it seems like Matt and Minnie are on the same page.

“Well, I want Mommy to feel like a princess.” 

You want to hide your face, but you know you can’t, so you cover your mouth instead.

“Matt, this is beautiful. But this is so much, I can’t accept this.” 

You know that while Matt is a lawyer, he’s still struggling a bit financially. If he had his way, you know he wouldn’t charge anyone for his services, and even though Nelson, Murdock, and Page has paying customers, they still have to stagger out their bills. 

He shouldn’t be spending his hard saved money on you. 

Matt sighs your name before gently draping the garment bag over the back of his dining chair and stepping towards you. Both his hands go to your waist, and you freeze up as he steps close enough to press his forehead to yours. Your heart begins to wildly beat when his hands slowly begin to rub your sides. 

“Let me spoil you. To make up for all the dates I’ve missed. Please?” His lips dip into a small frown and you feel like you’ve kicked a puppy. 

He’s gone out of his way for you, and you are being so ungrateful. 

But it is so hard to say yes. Guilt is pooling in your stomach, and you just want to disappear into the shadows and be forgotten about. That is so much easier than Matt holding you, saying such sweet things.

You don’t want to ruin everything. 

You close your eyes as you have a war inside yourself. All you have to say is ‘Yes’ and you’ll make Matt happy, but the monster inside of you keeps dragging your mind into a pit. 

Matt wants to treat you like a princess, but how crushing will it be when he decides that is no longer the case? Can you take that?

The corners of your eyes start to sting and your monster starts to mock you for getting worked up over something as simple as being asked on a date. 

Why can’t you be normal?

Why can’t you accept this?

Why can’t -

The thoughts cease as Matt’s lips press against yours, soft and sweet and tempting. You respond hesitantly.

“Let me take care of you,” he breathes into your mouth, making you shudder. “You deserve it.” 

“You deserve it!” Minnie chirps from beside your knees and you very suddenly remember where you are and what you were doing. You try to pull away from Matt, thinking Minnie hasn’t seen the two of you like this yet, and it might confuse her, but he keeps his hands firmly planted on your hips, not letting you go. You don’t try to fight it, instead, you turn your head away, trying to hide away in your shell. 

You know there is no way you will win this. Matt is determined and he clearly has Minnie on his side, so, very hesitantly, and feeling like you are going to throw up at any moment, you nod into Matt’s shoulder.

“Okay.”

Mouse lets out a deafening cheer and you feel her dart away.

“LADY AND TRAMP! LADY AND TRAMP! LADY AND TRAMP!”

Matt laughs at her excitement over something she doesn’t understand, while you tuck yourself into his hold, wondering how long you have before he ends up shattering your heart into pieces.

---

tags:

@two-unbeatable-beaters @kiwwia-wiwwia @1988-fiend @xblueriddlex @loves0phelia @ninacotte @lovelyygirl8 @littlenosoul @ednaaa-04  @astridstark13

 @lovingkryptonitehideout @moongirlgodness @soocore @bluestuesday

@starry-night-20 @rebeccapineapple @writtenbyred @cherrypie5 @capswife @silvercharacterchaos @resting-confused-face

@Specialagentjackbauer  @yarrystyleeza @ofmusesandsecrets

@midnightreids @cloudroomblog @yeonalie @thychuvaluswife 

@petrovafire39 @ghostindeath @roxytheimmortal 

 @allllium @waywardcrow @thatkindofgurl @waywardxrhea 

@anehkael @akilatwt @lostinthefantasies @reluctanthalfwayoptimism @ethereal-blaze

 @nennia-2000 @seasonofthenerd @abucketofweird  @mattmurdockstateofmind @imagineswritersblog @hazelhavoc @smile-child-13 @allst4rsfall @hashcakes @kezibear @mapleaye @sammanna @gamingfeline @moon-glades @nightwitherspring @phoenix666stuff @dare-devil

@ladyoflynx @hobiebrowns-wife @sarcasm-n-insomnia @lillycore 

@dorothleah @mattmurdocksstarlight @mars-on-vinyl @mywellspringoflife @sleepdeprived-barelyalive @simmilarly @soupyspence @darkened-writer @akila-twt

@murc0ckmurc0ck @groovycass @sumo-b98 @just3rowsing @tongueofcat @zoom1374

@theclassicvinyldragon @aoi-targaryen @lunaticgurly @nikitawolfxo @shireentapestry @snakevyro @yondiii @echos-muses @honeybug-victoria @the-bisaster @ristare 

@mrs-bellingham @eugene-emt-roe @cometenthusiast @stevenknightmarc @yes-im-your-mom @hunnybelha @actorinfluence @capbrie @prowlingforfood @jupitervenusearthmars

@mayp11-blog @danzer8705 @thinking-at-dusk @remuslupinwifee @akila-twt  @nommingonfood @mattmurdocks6thscaleapartment @dil3mma @allllium 

[starcurtain]

Following Topaz's explanation that Cornerstones are made to fill the hole in the user's heart, what "hole" in Aven's heart do you think his drag queen powers are meant to fill? Especially since Topaz remarks he's the only one with such showy powers

Still trying to catch up with all the messages in the inbox; sorry to everyone for taking a million years to respond.

So cunty, and for what???

Anyway, first, when Jade talks about the Stonehearts' "voids," the alternate reading above that word is actually "ambition." And she mentions that the reason she risked reaching out to Firefly is that she views herself as similar to Firefly--Jade is someone with an unfulfilled wish.

I think there's enough here to suggest that the Stonehearts' voids are not quite what we would normally think of when hearing the word "void"--rather than being best understood as something removed or something lost, their voids seem to be "something desired." An unfulfilled goal. An unmet need. A burning ambition. A secret wish. They all have somewhere they want to get to, and they've signed on-board with Diamond's Preservation project because his power is the fastest way--maybe the only way--to get there.

The implication here, by the way, is that the Stonehearts are acting out the very act of Preservation itself with Diamond. The goal of Qlipoth is for the universe to be saved, an unshakeable resolution to stop Destruction's wanton obliteration. Thus, Preservation itself can be understood as "A desire that must be continuously protected and relentlessly pursued." To live. To endure.

In using the power of an emanator to protect and provide the Stonehearts with ways to pursue their own desires, we replicate in miniature the exact resolve and endless pursuit of perseverance that Qlipoth is acting out in the broader universe. The will of Preservation empowers the Stonehearts--and in turn, the Stonehearts swear an oath to aid in Preservation's mission. It's a mutually beneficial arrangement, and it also simultaneously imitates Jade's shop perfectly: I'll give you exactly what you want, if you give me what I need.

I should clarify that I don't actually think the cornerstones themselves fill the Stonehearts' voids. Rather, they seem to me to be a tangible symbol of the oath between Diamond and the Stonehearts--"I'll give you this power to fulfill your deepest wish, if you work for me." Jade suggests that the power of the cornerstones provides Stonehearts with the means to fill their voids (I.e., having superpowers makes it possible for you to pursue your wish), so I think their individual cornerstone abilities are best understood as "The exact power I need to achieve my particular goal."

So what does that say about Aventurine's "showy" transformation?

Pretty much all the rest of this is just going to be my personal speculation, but I'd say the most telling glimpse we get into why Aventurine's power is so "visual" comes from these lines with the future "Aventurine" in 2.1:

There's two completely contradictory desires being expressed here: Aventurine's life "is the chip he's most eager to lay down" and "always has been"--that is, he genuinely wants to die. He isn't just willing to gamble with his life, he's eager to. The future "Aventurine" also says real Aventurine wants to be "polished up" (to be controlled and molded by others) and "cuffed with red-hot chains" (to be made powerless and not responsible for making his own decisions, to be punished).

But conversely, the real Aventurine also wants to be perceived as "a smooth operator" and "the solid gold deal-maker who doesn't waste a drop of sweat." He wants to be in charge of his image. He wants to be the one who controls the narrative and defines how others think of him. He wants to be "spotlit center stage"--to command the eyes of the world. In short, we could say that Aventurine wants his death (and conversely, his life) to mean something.

From these conflicting desires, I think you can derive a few totally opposite but equally valid interpretations of why Aventurine's cornerstone power is so "visual":

A combat-oriented transformation is another means to seek death.

Jade's power is scary, but she isn't using it to literally launch herself into fights. Topaz's seems to be similar--something that might allow her to win over her opponents in some way (she was about to use it in Belobog to no-sell the Trailblazer), but she clarifies directly that it is not a "transformation." Aventurine just literally turns into a boss enemy and goes straight out on to the battlefield.

In the fight, he doesn't even use shields. (Now whether that's something he never does because the cornerstone powers don't actually come with shields while in his monster form, if he couldn't use shields because his cornerstone was broken, or if he just chose not to use shields in this fight to give Trailblazer and Co. a fighting chance, only time will tell. However, it might be worth noting that his empowered Apocalyptic Shadow form doesn't come with shields either, despite having other new mechanics.)

The point is, this form, while looking cool and seeming strong, is actually a gamble in and of itself. To go out onto the battlefield, where you might not actually be the strongest combatant, is always a risk. And I think this is the kind of risk that Aventurine manifests continually in his life. He is constantly creating opportunities for his own luck to fail. His unfulfilled desire, the "ambition" he was desperate enough to join the Stonehearts to pursue--as his original goal to save his people is completely gone, his only current goal might actually just be a chance to die. His powers may manifest as a combat-oriented transformation because that is just one more way to throw himself into the crossfire.

In fact, this is exactly what Sugilite accuses him of in Jade's myriad celestia:

You didn't need to snatch his wig this hard, Sugilite. (Also I need you all to know I originally wrote "You didn't need to come for him this hard, Sugilite," but then I realized how unfortunate that wording was, so...)

You could even argue that the fact Aventurine's transformation comes with a mask that obscures his entire face is a sign that we're supposed to see this form as dehumanizing.

The facial features are completely obscured and asymmetrical, there's no mouth, his fingers have become claws--despite his body staying mostly human-shaped, it's obviously intended to hint at something monstrous, subsuming his original identity behind a violent facade.

Kakavasha disappears entirely behind "Aventurine" when he transforms, becoming a faceless enemy at the risk of (perhaps in hopes of) entirely losing himself. Maybe every transformation lets Aventurine throw himself closer and closer to the edge of death--and perhaps, before Penacony, only death could ever have filled the "void."

But, on the complete opposite hand (because Aventurine is always both sides of the coin), we could also argue the other end of the spectrum entirely:

A combat-oriented transformation is a show of force.

This screencap brought to you by Mr. Rubhen925 of Youtube.

Aventurine's entire life has been marred by disenfranchisement, by violations of his basic human rights, freedoms, and agency. At every turn, he has been victimized by others more powerful than himself: his childhood consisted of his clan being relentlessly hounded and hunted to extinction by the Katicans, having their food constantly stolen, their meager belongings burned to the ground, and each one of his family members systematically slaughtered, often in front of his eyes.

After his childhood, he was bought and sold as chattel for pennies, branded like an animal, and forced into a fight where to he had to beat other innocent people to death just to keep himself alive, all for the entertainment of the masses. Even Jade, who promised to help him achieve his goals, treats him like a business investment more than a friend.

In Penacony, we watch everyone he talks to degrade and ostracize him. Even though Aventurine led him into doing it, Sunday tortures and re-traumatizes him live for our entertainment.

Even more that, we see Aventurine constantly struggling with the question of whether his life is really his own or whether his blessing from Gaiathra means that his entire existence has been predetermined, his fate sealed in blood and sand from the very moment of his birth, utterly inescapable.

No matter how Aventurine tries to portray himself as the ultimate winner, he's only ever the "final" victor--being the only one left standing at the end is meaningless if on the road to getting there, you were treated like fate's favorite punching bag. Winning in the end is utterly pointless if on the road to winning, you still lost it all first, from the things you loved to your personal freedom.

What does a person who has been made powerless again and again truly desire? What void do you seek to fill if life has denied you your agency over and over?

Power. Dominance. The ability to literally strike back at those who've wronged you. The strength to intimidate and force people into a corner the way you've been intimidated and forced before.

If we say that Aventurine's "void" is not a literal desire for the release of death, then it might make sense for the "void" to instead to be a frantic desire to gain control over his circumstances. To be the one finally in charge of deciding his own fate.

Particularly in light of his character story which tells us that Kakavasha's original goal for joining the Stonehearts was to save his people, the desire to take on an impressive form that screams "I'm powerful" and has the ability to physically enact vengeance on others feels directly aligned. And it remains aligned even after the reveal that the Avgins are all gone--once more fate strips Kakavasha of his power to make a difference in the world, to achieve what he truly dreams of.

The Apocalyptic Shadow version of his boss fight is called "Desperate Diceroller."

How angry he must be, deep down. How hateful the world must seem. How sad it is to feel that way.

If destiny won't let you out of the cage, your only choice is to grow claws to tear it open.

Okay, but WHY so much swag though?

Are the peacock feathers and spandex really necessary?

Listen. Everyone talks about Ratio having "gifted kid" syndrome, but I'm here to tell you that Aventurine is actually a burnt out gifted kid extraordinaire.

He's literally, canonically, explicitly the chosen one of his people.

From the moment of his birth, his mother and sister--and presumably others in his clan even--were telling him that he was their clan's most precious treasure and that he would lead them to prosperity and safety.

He carried this weight even after fleeing from the massacre, all through his childhood and teenage years, through slavery and abuse, putting his very life on the line to join the IPC in hopes of finally fulfilling the destiny his mother and sister promised he could.

He was supposed to save them. That was his meaning. That was his purpose in life.

But he was too late.

The fate he was born for, raised believing, and risked everything to achieve... is still incomplete.

So, for all that talk about suicide and power-seeking, my real answer is this: Aventurine's "void" is his unfulfilled destiny.

His whole existence has been predetermined, his life's journey laid out in prophecy and blessings from the very beginning. Yet what he thought was his fate betrayed him, and where you head after becoming an unsuccessful chosen one is a question without answer.

His thoughts constantly circle around how he is a "failure" and a "loser."

When you have no sense of purpose, when your life has no meaning, when what you are still seeking is the role you were supposed to have from the moment of your birth: the glorious destiny of being a savior, being the "happiness" of your people, being the hero...

Of course you crave the spectacle. Of course you long for the spotlight--you long to be recognized. Because Kakavasha's the chosen one. "Spotlit center stage" is where he's supposed to be--in the leading role that was stolen from him.

I think that Aventurine's cornerstone transformation is so flashy because, at the core, it represents a longing to truly be the "precious wealth" of the Avgin that his sister promised him he would be. It represents his desire to transform from a useless, "discarded" person into a larger-than-life version of himself. (Hey, fun fact, out of every official depiction of Aventurine, his boss model wears the only outfit in which his slave brand is not naturally visible.) He literally transforms into a supernatural being, capable of seizing others' fates in his hands. It represents the power he needed to save his people and himself. Its extreme flashiness screams for attention, demands to be witnessed as something beyond a helpless human.

It's almost as if Aventurine is a child writing a wish-fulfillment story where he transforms into a hyper-glamorous, all-powerful masked superhero who is capable of saving the day and winning against his enemies every time.

Unlike Jade and Topaz, Aventurine can't hide his deepest desire. It was always going to be a "transformation," because Aventurine's unanswered wish is to be someone better than himself.

His "void," his deepest unachieved ambition--it's written right there, all over his body.

Aventurine's cornerstone power is a story he's telling himself about the person he was supposed to be.

But as Acheron claims, that's life itself.

Aventurine doesn't feel like he has any control over his journey's ultimate destination.

He doesn't know where's he's headed or what the purpose of it all is. But...

Jade explicitly describes the Ten Stonehearts and Diamond's endeavor as a "journey" as well:

Because Preservation represents the continuance of life itself, and the Stonehearts with their endless "voids"--Aventurine with his soul-deep longing to become someone better than himself--represent all of us very real human beings, trying our best to find our own "cornerstones," to gain the means to finally, finally achieve our own sweet dreams.

[secretlythatsme]

Okay, I was trying not to harp too much on dc canon here but you rbed first so I'm considering this a go-ahead lol

The whole "no metas in Gotham" thing is a mix of canon and fanon. Canon implied it, and fanon took it to an extreme.

Bruce not wanting metas (or any other vigilantes) in Gotham is heavily implied by both him and the narrative. He does not specifically state it - it's one of those read in between the lines things. Bruce, through actions and words, has proven for about twenty years that he doesn't like meta vigilantes in Gotham. It's not all meta people - he specifically has an issue with vigilantes. And there are multiple canonical reasons for this: metas can do more damage to Gotham and its citizens (on purpose or accident/out of their control), the more meta vigilantes there are the more crime will rise to the challenge, meta trafficking rings, etcetc. There's a lot of nuance to it and it's not going to be the same answer for every person Bruce meets, but in general, he doesn't Love it when metas are in town. It makes things harder for him, the citizens, and the metas themselves.

Bruce is not bigoted against metas; he just specifically doesn't want meta heroes/vigilantes/criminals showing up because that usually makes things worse for everyone. He does get uneasy with unidentified metas, but that still leads to his actual reasons above. He's not actually forcing them out of Gotham, he wouldn't be able to and he's not trying to. He is trying to keep track of and document them though (again, for reasons listed above). (like there are a lot of different plots where random metas are rounded up to be killed, abused, and/or taken advantage of.)

One of the only things that Bruce has said that's really been bigoted in nature is telling Cass that he doesn't want her to associate with "his kind" in reference to Kon (batgirl run). Which is yknow, rude as fuck but could be brought down to Bruce being overprotective of Cass knowing what Kon used to be like. Everything else is just normal Batman paranoia and planning.

The thing about Duke is that he is the exception. He's not the rule, he's the exception. Gotham is Duke's home, and he proved that he could be trusted and trained. There have been other metas who operate in Gotham or come and go (Black Canary, Gotham Girl, Zatanna, to name a few), but Duke being in the batfam is an exception. And the narrative is very clear about that. Bruce takes him in because he sees a traumatized teen, who has the potential to do a lot of good, who wants to do good, and who has proven that he can help people. But he also takes him in because he has powers and he needs to be trained to use them for good and not fall through the cracks or be killed because he's a meta (one who happens to be drawing attention to himself by helping people).

In regard to Danny specifically, if he's trying to pretend he's a normal citizen, then no, Bruce wouldn't particularly care unless something weird is up. If Danny is very clearly a vigilante/getting into shit, then yes, Bruce will care. And he'll care a lot about Danny not being from Gotham. It's not his home, so he has no business being there. If he's still a teen in the au, then Bruce will be nicer about it, but if he's an adult? Bruce will immediately be questioning why he's there, what his powers are, what he uses them for, how long he plans to be in Gotham, etcetc. Bruce will make it known that he doesn't approve of an unknown meta vigilante stirring shit up in his city.

So again, mix of canon and fanon. Canon makes it clear - fanon exaggerates.

ALSO for your angst dpxdc consideration: danny would absolutely still be considered a meta. the term "meta" is used in a very vague, umbrella way where basically anyone who isn't a normal human is a meta. so even without the proper meta gene, danny would still be considered a meta by basically everyone (especially bruce). canonically speaking, danny isn't just a normal booooo kinda ghost - he also has some insane powers (like his ghost wail!) so he'd be considered a person with superpowers and therefore a meta.

so when you're writing dpxdc fics, please consider this! danny would be a meta in the dcu! kick that kid out of gotham!!!!

[littlelostmoth]

The Final Double Exposure Post

Okay, the game is out now and just wanted to share some final thoughts about Double Exposure and the big problems with it. All spoilers below the cut.

Ultimately, even outside of the brutal murder of Pricefield, gaming's most classic wlw couple, the game is just very poorly written. This post will acknowledge that breaking up Pricefield is terrible writing and they do not do it in a way that makes any remote sense whatsoever. While everyone can sit and say "It makes sense they broke up," it didn't. These characters are characters, ones designed to tell a story. Characters who exist as a bright spot for sapphic and queer people playing video games in 2015.

It's the same thinking as everyone used to say "Well if Nathan just had therapy, he'd be better." And to which it would be answered, "No shit, maybe he would have been better with therapy, but it's a story and he rejected going so no he didn't get better and won't get better because that's not the point of the story." Point being, you can self-justify the Pricefield break up with real world logic all you want, but the fact that even Dontnod is sad about the state of it should be telling. That in addition to the leaks about Square hating Chloe and the D9 narrative team hating her, and it was not done as a good faith way to tell a story. Ultimately, the game encourages you to choose the "Kill Chloe" ending of the original game so that Max can retain her memories of her in a pure way, while also removing her from story. If you choose what the D9 devs believe is the morally evil choice, you get horrible Chloe.

There is SOME good stuff in here, but it's not enough to justify the game's existence. Here are the short amount of pros we compiled for the game: the music is well done, the environments are very nice, and the side characters are fine for the most part.

That's it. Everything else is a con: the story, the handling of Max and Safi as characters, the entire mystery of the game basically being shafted in favor of... making the most important thing about Life is Strange the superpowers. It just seems like this game misunderstands what Life is Strange is or was at any point.

Max is so horribly out of character in this game. Why? Why does she do the things she does? Sometimes she feels like a natural adult version of the original game's Max, while other times she's overly horny to the Nth degree. Max has the ability to cheat on her two love interests, and both love interests reject her in the appropriate timelines of pursuance. Within the text of the game, she uses her powers to circumvent the fact that they've rejected her.

Remember the original game's ending? Nightmare!Max accuses Max of selfishly using her powers to manipulate others to her own selfish end. Ultimately, we're left with the fact that Max used her powers to help get others to like her because she didn't have many friends and was a target of bullying. It's morally dubious, but she wasn't doing any of it for like selfish personal gain. It was an extension of her anxiety.

This game goes around this and makes Max purposefully use her powers for selfish gain. The entire first game revolved around the concept of whether or not she was using it for selfish gain. She wasn't. Now the game forces Max to go through the same exact arc, but this time she is actively being awful instead. Not only cheating, but using it to get around being actively romantically rejected.

Then there's how the game handles its story. Like what the hell is going on here? How does any of it make sense. Spoilers again, but the mastermind is Safi, and Safi is a shapeshifter. She wants to take over with world with Max and collect her own superhumans to form a what? A Legion of Doom? Why? Why is Safi a villain? Her villain arc literally comes out of nowhere and the game does little to sell how she goes from wanting a book deal in the beginning to "I have godlike powers, let's take over the world together." Like honey, WHAT? WHY? And the fact the final choice is to join or refuse her??? LIKE WHAT? WHERE DOES IT COME FROM? WHY WOULD MAX, WHO EITHER HAD TO MAKE THE CHOICE TO SACRIFICE A TOWN OR HER LOVED ONE AND IS ETERNALLY TORMENTED OVER BOTH... SUDDENLY ONBOARD WITH BECOMING JUST A GENERIC EVIL GIRL?

And that's it??? Nothing else in the game matters. The romances go nowhere, thus making breaking up with Chloe pointless since it's not like the game allows Max to pursue a relationship seriously any further. Or just the mere fact she's shitty for doing so. None of the plot points of this game matter, and the mystery the game is built on doesn't matter.

It's like... Here's a murder mystery! Without the murder or the mystery! And then... the game just ends. It just ceases to exist and stops without any sort of... ending that feels satisfying. We get an AVENGERS LEVEL END SCREEN OF "MAX CAULFIELD WILL RETURN."

We think about the endings to the other game's endings. They all have some sort of conclusion that feels like its own self contained experience. You get this long and depressing ending of Chloe dying and her funeral... You get this wistful drive out of Arcadia Bay as Obstacles plays. You get Sean surrendering himself to the police so Daniel can live to grow old and not suffer for the sins of those older than him, and how Sean comes out after. You get to see how Chloe and Rachel grow as time passes to the first game. You get to see how Alex chooses to live her life on her own terms after so long of feeling like she was trapped. You get all of these different endings for the game and here you get... what amounts to the exact same ending depending on your choice which is to be horribly evil supervillain when the time comes or not, and then sequel bait with Diamond and Safi. Why? Why does she have a bleed from her nose? Since when did that become a common occurrence for superpowers? Or storms when powers are overused along with nightmares?

In the original game, the nosebleeds are a result of Max twists reality around her as the epicenter. It's the physical damage she gets for what her powers are physically doing to existence. The storm? The point is, we don't know why the storm comes.

When did Life is Strange become about superpowers and taking over the world? When did it become all of these things? Like True Colors isn't a perfect game by any means, but for fuck's sake it at least knew the scale of what a Life is Strange game should be. Small town mysteries with a colorful cast we love and hate. To this day, I still think that the Jed stuff is some of the most morally fascinating questions to be raised in the franchise. To have that final choice be to either forgive him or not? It's an incredible final choice that is so intertwined with the game's themes. To leave or to stay afterwards? They're both extremely meaningful, dual choices.

This game does nothing. That's ultimately it. What did we gain from Double Exposure? Nothing. It doesn't continue Max's character in any meaningful way. It does little to build upon the actual lore of the original game. It doesn't actually use any original characters except Chloe and that's solely to drive it in how much they despise her from a writing perspective.

Regardless of how well each game did at telling their stories... They all had something meaningful to say in some way. Even if Before the Storm is not a game that I'd necessarily say is amazing, there is some thought and thematic purpose put to that game. It's still 1000 times the game this will ever be.

When I was first exposed to the game's ending... the emotion I felt was pure and raw bafflement. Not anger. Not sadness. Bafflement and bewilderment. I had no idea what the fuck I just played or what I gained from it? What does Max as a character gain from this story? What do any of the characters in this game gain from the story? Nothing. The game starts and then it ends. And we all gained absolutely nothing from the experience. (And in BtS the ending is fine, because it's a prequel that has to have a clearly defined ending to lead into the first game. You can't break Chloe and Rachel's relationship, it always has to be what it is.)

For a long time I really hated the Life is Strange comics. It felt like a kick in the head to the original game's story. But then after it ended and this came out, we can view it as a more honest and genuine follow up to the games as opposed to... whatever we got here.

The comics focus heavily on Max's perceived guilt over what happened to Arcadia Bay. She comes to believe that she, herself, is the problem in reality. That she makes everyone around her unhappy, including Chloe. While Chloe reassures her this is not true... she ends up displaced and removed from reality... and punishes herself by sending her to a world where Chloe is happy with Rachel.

The rest of the story is Max and Chloe apart for years, as Max wrestles with her guilt... while Chloe waits for her. Chloe waits and knows Max is out there still. Max eventually realizes how wrong she was after self-reflection and being around the alt!Chloe and Rachel helps her realize she was wrong.

Chloe builds them a home.

Chloe comes to move past her own grief, just as Max did.

Chloe helps rebuild Arcadia with her own hands. She decides she has a home. This town, with Max. And then they're together... And that's what matters because... like Michel said: "They have each other."

And that is what Life is Strange was about. These two young women, who were best friends... they grew apart through tragedy and life circumstances... And then they found each other again, fell in love, and even in tragedy had one another to rely on.

I am who I am because of Life is Strange.

I met the love of my life because of Life is Strange.

And no matter how bad Double Exposure is... It can't take away Life is Strange, Max, or Chloe from me.

No.

It can't take them away from us. From all of us who cared enough to stick around this funny little 20$ adventure game from a decade ago.

[lorhaghanima]

how much the audience of hotd hates alicent hightower will never not be surprising for me.

she IS the complex character you all wish for. she loves her children deeply (she literally puts her life in danger repeatedly because of them, what about sacrifice?), but she hates everything they are: targaryen, royalty, results of her parenting mistakes, proof that she was never enough even though she did everything expected (what about duty?) of her, viseris' unwanted children (but ones he FORCED her to bear), the only thing left of marital rape.

she loves rhaenyra since they are childhood sweethearts, and both mothers, and both women in the world that will always be cruel towards them (everywhere in the world they hurt little girls), but she can't help but hate her: she is everything she could never have - a beloved daughter (you were always his favourite, but otto did nothing but use her), a woman who has right to pick her own partners, who has loving and lovable children, who are not looking so targaryen-ish (having nothing of her, and everything of their father, who neglected them nevertheless), a power to be who she wants and to protect herself (dragon). and rhaenyra does everything she wants and nothing she has to do, alicent rules and sits in the council and takes care of a dying husband and STILL it's not enough and taken for granted.

she hates and loves her father. she hates and loves criston. she hates and loves her grandchildren.

she is poisonous and she is poisoned. she is a saint, she is a martyr, and she is a villain and abuser and destroyer. she is queen and she has everything to do with how her children turned out to be, she is their root, she is their core. and at the same time she has no control of anything that has happened to her - she did not pick her father, her friendship or its end with rhaenyra, her marriage, her children. there's no way all of this could've turned out to be happy. she is sansa that never was saved from joffrey (broken, hopeless, betrayed by her own family). she is cersei if jaime died during roberts rebellion (powerless, lonely, forced to have children that are never truly yours). she is lyanna that stays alive after giving birth to jon (realising there's no such thing as love, that your only goal in the world is to bear children, and if they do not fulfill some stupid prophecy - they are not wanted by their own fathers). she is elia who lives (a mother of abandoned children, a living woman, but your husband prefers a ghost). she is daenerys that never got her dragon (just a shadow of a husband that died and you feel equally relieved and terrified by it). she is any woman in this world that isnt empowered by some magic, or superpower, or prophecy, or even men. she is as powerless as power hungry, as broken as whole, as doomed by the narrative as she could be.

and what you call her is "bitch", or "terrible mother", or "whore", or " stupid".

[linkspooky]

GREAT TEACHER, GOJO

For my final commentary on chapter 236, I thought I'd talk about this panel the starter of a million flame wars on twitter dot com. The big controversy is Nanami stating that Gojo fought only for himself without mentioning his students which a lot of people thought was a last minute reversal on Gojo's character, or character regression.

I'm not going to call anyone stupid, or say if you have good teacher Gojo headcanons you're wrong. However, I'd like to point out that Gojo's always been more complicated than most shonen mentors. He's not Kakashi, and he's not Aizawa, and I'd argue the fact that he's not the standard "I'd die to protect my students" mentor we see in shonen manga is what makes him interesting.

The Springtime of Youth

Jujutsu Kaisen is a shonen jump manga that is very aware of the other manga that are running in the same magazine and uses that awareness to play with audience expectations.

To put it simply if you don't want to use words like Deconstruction - if you're reading Jujutsu Kaisen then things are probably not going to go the way you expect them. It's not Naruto, it's not My Hero Academia, it's a little bit like Bleach except characters actually die.

If you expect things to go one way in Jujutsu Kaisen, then you're going to be thrown a curveball. To name some examples briefly before diving into Gojo.

Yuji Itadori is a normal boy protagonist suddenly dragged into the world of the supernatural.

However, everything goes wrong from there. Jujutsu Sorcerers are not heroes. Yuji is told that much from the beginning by Megumi within the first thirteen chapters. The world of Jujutsu Sorcery is not a good place to be, Yuji is initially excited to be a sorcerer and to be a part of this world and then learns that lesson fast. I mean, imagine if Deku was accepted to UA, and then he immediately learned that students at the school die on the regular and all the adults are either terrible selfish people, or if they're not they die too like Nanami because being selfless means sticking your neck out for someone else.

Yuji's not really special in the narrative. He's just a kid who swallowed a finger. He doesn't have a secret technique. We're hundreds of chapters in and he's still just punching people. If he's cornered in a fight he doesn't unlock a secret technique either, he just loses.

Yuji has a superpowered evil side, like the nine tailed fox, or Hollow Ichigo except it's not really his super powered evil side. It's an evil parasite attached to his soul with a will of its ownt hat will manipualte him. Hollow Ichigo and the Kyuubi can escape temporarily and there's usually no consequence. Sukuna escapes twice, the first time he nearly kills Megumi, the second time he kills thousands.

Yuji is kind of like a main character who is not a main character.

If you still believe he's the main character, then you can agree he's punished for thinking he's the main character and therefore things are going to be easy, because nothing is ever easy in Jujutsu Kaisen.

Megumi is a riff on the chosen one. He's supposed to be the Gojo Satoru of his generation, born with the strongest technique that ca even surpass the limitless and he's nowhere near the level he's supposed to be. This is because Megumi has been continually failed by every adult figure all his life, starting with his father who sold him, then Gojo the man who SAVED* him techically but with a big asterisk that he needed to become his student and do jobs for Jujutsu High School otherwise Gojo would just let the Zen'in take him or let them starve I guess. Megumi has no adult figures to rely on, and has been given very little freedom about who or what he wants to be in his life, and therefore he's a very passive, repressed individual who's riddled with insecurities. Megumi doesn't want to be the strongest like Gojo, or like many hero / rival characters in shonen manga. Megumi doesn't even know what he wants to be, because he's never been given any choice in life.

If you don't think Megumi's a deconstruction of any sort of character type, look at those posts on twitter that are like "Look at the black haired depressed shonen boys" and then look at Megumi, he's never actually like any of these boys because he's much deeper and probably closer to being the main character than Yuji is.

Then we get to Gojo who is very unlike all the other mentors in shonen manga.

If Yuji and Megumi are both riffs on a main character, a hero in a world so cynical he's not allowed to play hero and actively punished for it, and a chosen one who doesn't want to be the chosen one then you have Gojo as the mentor who's nothing like the classic mentor.

The problem with mentor characters in fiction is that number one they die a lot (spoiler warning Obi Wan Kenobi dies in Star Wars just so you know) and number two they're not usually the most complex character in the cast.

What is the mentor there for?

To Mentor (duh.)

What this means is they are usually a fully formed adult who can teach a lesson to the main character, who in shonen manga is typically a teenager.

I say they're usually less interesting because stories are about characters changing, or characters learning lessons. A teacher presumably already has learned his lesson. They are usually at the end of their journey and not the beginning, that's why they can offer wisdom to the main characters. They're not usually their own separate characters because of this - a narrative doesn't have time to waste on a character that's not going to change.

Jung had a term for this character, it's called the Wise Old Man.

In Jungian analytical psychology, senex is the specific term used in association with this archetype. Examples of the senex archetype in a positive form include the wise old man or wizard. In the individuation process, the archetype of the Wise old man was late to emerge, and seen as an indication of the Self. 'If an individual has wrestled seriously enough and long enough with the anima (or animus) problem...the unconscious again changes its dominant character and appears in a new symbolic form...as a masculine initiator and guardian, a wise old man, a spirit of nature, and so forth'.

The role of the wise man archetype is to help other people along with their ego development, because usually they are already fully developed individuals.

Obi Wan is the most typical of typical mentors, and he dies in Star Wars because after he finishes teaching Luke he has nothing to do. This is Luke's Hero's Journey. Obi Wan's already happened offscreen, he's at the end of his journey there's no room for change or growth in him because his story purpose is to exist to advise Luke and to do that he needs to be a fully grown adult figure.

The subversion to this when the mentor has their own agenda (Gandalf), or the mentor is as flawed as the main characters themselves and so therefore he has something to learn.

Gojo is kind of a combination of both, like Gandalf he is the mysterious but seemingly all powerful wizard (er... or rather sorcerer) with his own agenda, and he's also practically the fourth member of the main cast who are otherwise all teenagers. In fact, Gojo spells out his agenda in the same panels that everyone uses to constantly assert that Gojo is a good teacher who only wants to protect his students.

He wants to make the Jujutsu World a better place (good) which is why he is raising students so he can turn them into his political allies to make a regime change (hidden agenda).

It's a means justifies the end type scenario. In Gojo's mind the means (raising kids as tools in support of his political agenda) justifies the ends (a better jujutsu world for those children). His motivation is still the same. This is what I think people most often get confused about with Gojo's character. I think he is one hundred percent genuine about wanting a better world.

"I have a dream, I want to reset this crappy Jujutsu World" is his motivation, but not his means. He uses his students as a means to achieve that end. Even if it's purportedly for their sake, he's still using them. I don't even think this is subtext it's text, both Megumi and Yuji call themselves cogs.

"But senpai, what's your function...?"

You could say in this case that the ends don't justify the means. Is Gojo really protecting these kid's youth, if Yuji and Megumi are going around calling themselves cog and acting like they don't matter in the grand scheme of things? In fact the narrative is inviting you to question if Gojo's ends justify his means.

Gojo's ideals can be one hundred percent real, but he can also pick faulty ways of choosing those ideals that fail to live up to them. In fact most people fall short of ideals, that's why they're called ideals. Gojo is taking these kids in because they have strong potential as sorcerers and he wants to recruit them, that's his hidden agenda. It's confirmed in databooks in Yuji and Yuta's case, and even if you don't trust databooks as canon then look at how he treats Megumi.

Megumi is explicitly Gojo's student, not his son. He only intervened in Megumi's situation on the caveat that Megumi work for him. Presumably, if Megumi didn't want to be a sorcerer and just wanted to be a normal kid, Gojo would have either let the Zen'in have him or do nothing. The option of just calling child services and getting someone to foster Megumi until he was older didn't even seem to cross Gojo's mind. There's the help he gives (Food money, rent, protection from the Zen'in) and then the hidden agenda (Don't work for the Zen'in who are my political rivals, you're my student now).

Yet at the same time Gojo is shown going to find Megumi after Geto's defection, probably because of the words he said to Yaga "You can only save those who want to be saved," when he realized it was too late for Geto. Was he intervening earlier for Megumi because he learned from being too late with Geto? Did he think Megumi needed guidance, or did he think Megumi needed protection in his youth so the Jujutsu World wouldn't corrupt him like it did Geto, or did he think he just needed to make it so Megumi was strong so he wouldn't fall behind him because Geto fell so far behind him once Gojo became the strongest. There's ambiguity there, because the hidden agenda is you know... Hidden. That's what I mean with Gojo though, you can look at him from multiple angles, he's not just (I love my students I'd die for them) because that character would only have one purpose in the narrative and that'd be being the perfect mentor who teaches them all the right lessons.

Gojo's not like other mentors, and in fact he's a commentary on the mentors that everyone is always comparing him to and expecting him to be like.

Literally everyone who reads Naruto has the exact same response, "I hate how the manga never talks about how it's a bad thing to send these child soldiers into war, and nobody breaks the cycle."

There are a lot of people unhappy about the same thing in My Hero Academia, "Why does nobody talk about how wrong it is that the adults make these high school students fight on the battlefield."

Well there you go. That's Gojo. His dream is to make it so Jujutsu Society is a place where teenagers can survive until adulthood. His method of doing so is to... raise those teenagers to be stronger than the previous generation, but you know still letting them be child soldiers on the battlefield just stronger ones. He does this because if he's working within the system the his two choices are raise a group of people who can age out and replace the old regime, or just kill everyone at the top.

Everyone complains about how no one talks about the child soldiers in Naruto or My Hero Academia, but here you go, we have a manga that is centered around how messed up it is to send high school students to continually fight these curses before they even turn eighteen. Gojo's sending these kids out there still even if he wants to change things, and it's supposed to be a little messed up and also a contradiction to what his ideals are supposed to be.

Because in My Hero Academia you have characters like Aizawa and Kakashi who are "I will die for my students" but then they just send those teens out to fight in a war, and seem totally fine with that. It's a hole in the writing, but this time it's done on purpose, to ask why these adults are always comfortable sending teenagers out to fight for them?

Jujutsu Kaisen provides two answers, number one the system is inherently corrupt and it sees the youth as cogs because the system is rooted in traditions that keep the elderly in power. Number two, in Gojo's case at least this is exactly what it was like for him growing up as a child. Gojo is just repeating with his students what was done to him, subconsciously.

The reason Nanami said this, and then repeated it in this most recent chapter is Gojo was born to be a Jujutsu Sorcerer. Being a Jujutsu Sorcerer is a highly deadly occupation for everyone else, except for Gojo. Not only that but because he's so good at it, and he's so lauded for it he's built his entire identity around it. Nanami's not just saying that Gojo is selfish, he's also saying that Gojo thinks being a sorcerer is a good thing. It is the end all, be all of Gojo's existence.

He doesn't want to make it so sorcerers don't have to fight, or make it so all cursed energy is gone for the world like Yuki Tsukumo, his dream is actually kind of limited in scope he doesn't want the school days of his students to be destroyed by the outside world the way it was for him and Geto.

Gojo looks at the symptoms and not the cause. Geto defected, Haibara died, Yaga wasn't really able to do much for his students in both scenarios. Gojo deduced it was because the elders and regressive policies were holding people back in favor of keeping the regime in charge (correct) and that because of that the sorcerers in Gojo's high school years just weren't strong enough to keep up (this is just what Gojo thinks).

His words to Megumi are encouraging him to be strong so he won't get left behind, which as I speculated above might imply Gojo thinks that part of what went wrong with Geto was that he simply wasn't strong enough to keep up with Gojo or stay on his level. If not then he still encourages Megumi to get strong before everything else, he's not taking care of these kids emotional needs, he's pushing them to get stronger because in Gojo's mind that's the be all end all solution to every problem.

"Nanami's line was not saying that Gojo doesn't care about children, it's saying that "You live for Jujutsu." It is the lens through which Gojo sees everything, and so therefore he doesn't think of breaking kids out of the Jujutsu World, just making it a place that's slightly more safe for them. Gojo's ego is so strong that he only ever sees things from his point of view, being a sorcerer was fun for him, his high school days were the happiest time in his life before they got ruined by outside forces.

He's trying to protect those days for his children, but he's not arguing against the existence of an institution like Jujutsu High in the first place. He's not saying the teenagers should never be sent out on missions, he's saying we need to make the teens stronger. If they're stronger than they won't die (that's probably true but they'll be even safer if they don't have to go on missions in the first place).

Now we have a reason! Why do Aizawa and Kakashi send out child soldiers into the battlefield if their goal is to protect their students? Because it's a shonen manga and the main characters are all teenagers.

Why does Gojo send out teenagers to fight for him if he wants to protect them, well I just explained it.

In fact, the entire purpose of Nanami in the story is to give us a character who explicitly treats children like they are children and not miniature adults. Who acknowledges that this is emotionally hard for children to deal with and they shouldn't have to do that.

Nanami's lines of "I'm an adult you're a child" and "Being a child is not a bad thing." would not have the weight they carry if they weren't so different from the way that every other adult in the story (including Gojo) treats children.

Nanami and Gojo have the same goal of making being a Jujutsu Sorcerer easier for children, but Nanami practices what he preaches. He tells Yuji to stand back and that he doesn't need to fight if he sees an enemy that's too strong, to let the adult on scene handle things first.

When he sees that Yuji is disturbed by the idea of killing former humans that Mahito had changed with his technique, he consoles him. He knows that Yuji is a sensitive kid and tries to spare him as much of that grief as possible. When he leaves Yuji behind he tells him explicitly that he's the adult in this situation, he shouldn't be forcing a child to help carry that burden if it's not necessary.

He also explicitly tells Yuji that being strong or jumping into life threatening situations =/= as growing up. Nanami is a character aware that the problem isn't that the children are not strong enough, but that too much responsibility is being thrown on these children. That there is a difference between what children and adults are emotionally capable of. Gojo doesn't see that difference because he reached enlightenment as seventeen. He even explicitly chose Nanami because Gojo knew he wasn't good at that stuff.

Nanami was not saying that Gojo doesn't care about children, Nanami was saying Gojo lives to be a sorcerer, Gojo who loves sorcery doesn't understand why being a sorcerer is too much of an emotional burden on a child. He just doesn't. He literally says his students are flowers.

Now, here's the kicker. Nanami dies.

Nanami wanted Yuji to not take on too much responsibility, and he died leaving Yuji with more responsibility than he could ever carry. Nanami failed in his goal, despite the fact he is the most responsible and well-meaning adult in the story who treats children like they're children.

The reason he dies is because this is what happens to people like Nanami in Jujutsu Society. The whole of society is built to condition people into being cogs and Nanami who's just one person can't overcome it on his own. I can write a whole meta on how Nanami's way of dealing with children is way better than Gojo's and yet they do essentially the same thing, throw way too much responsibility onto Yuji even though he's just a kid. They're both too ingrained in the system to make any sweeping changes, and that's why the child soldiers keep on child soldiering.

Gojo as a Character

The second reason as eluded above that Gojo is not meant to be read as a perfect teacher, or even a good one really is because he's the fourth main character of the cast. If you are a main character, then you need a flaw, and an arc where you either improve upon that flaw or you succumb to it in tragic fashion.

Gojo's not the perfect adult mentor, because he's kind of in the same place as the kids themselves. I think there's a reason we never learn anything about Gojo's backstory, we know nothing about his parents, the Gojo clan, because those details aren't as relevant. The most important thing about Gojo is the three years he spent at high school, because that was the only time he felt like a person, and also because he is trapped there mentally.

There's a reason that Gojo's dying dream is him imagining everyone reset to seventeen years old, because that was where the clock stopped for him in his youth, and that was where all of his regrets as an adult come from. His motivation to help teenagers today only comes from his own youth being ruined, and the adults in his life failing to protect him.

It's very likely that Gojo who lives for Jujutsu probably would never have realized the problems in his current society, if his youth wasn't ruined by those same adults he's now fighting against.

The reason most mentor figures in fiction are not main characters is because as adults they don't really need to grow up anymore. The obvious solution is that you just need your mentor character to just fail to be an adult in some glaring way.

To show how Gojo falls short as an adult, especially in regards to these children and how he treats them is to drag him down from all powerful, all knowing wizard, and make him struggle with the rest of the main cast. Gojo is not a positive adult figure in these kids lives despite having the best of intentions, because he's not really an adult.

I guess if you were already the best and strongest person in the world at seventeen, smarter and more capable than all the adults around you, you wouldn't really feel the need to grow up. Coupled with the fact that you are alienated from other people and do not relate to them on a personal level that's not going to help with your identity formation.

I mean I constantly compare Gojo to Superman, but to be fair to Gojo instead of bullying him like I usually do Clark Kent was raised by parents who raised a boy not a superman, and who constantly tell him that he's just a normal person, his powers don't make him great, it's his heart.

Nanami says that Gojo only fights for himself that ""You don't wield Jujutsu to protect something, you use it solely to for your own sake. What a weirdo" it's likely Gojo only fights for himself because he's never ben told that's he's more than just the six-eyes and more than just the limitless.

The best way to make a mentor a part of the cast, is to make them through some way or another have failed to grow up properly in their youth and therefore they need to do it while the story is taking place. We know how Gojo failed, his springtime of youth ended early, it ended the day he couldn't stop Geto from leaving, the day he can be the strongest sorcerer ever and still fail because sorcerer society is too corrupt for one person to handle alone. We also know he didn't really grow up past this point, because he still thinks the solution is to make people be stronger. Why does he not do anything about Geto for 11 years? In story terms he's basically suspended in time unable to grow past Geto. Kenjaku literally uses the trauma from his youth and the memories that seeing Geto alive would provoke in Gojo again, to trap him because he knew it would make him freeze up. Gojo is frozen in the past, he failed to grow up in story terms and must now grow up while the main story itself is taking place along with the children he's trying to raise.

This is how you make a mentor interesting. You have to make them flawed in some way that makes it worth having them onscreen, because a perfect mentor only serves one purpose to teach a main character and then he's gone.

Dazai Osamu from Bungo Stray Dogs is a character that's almost as massively popular as Gojo. Similiarly, he is a teenage genius who found trouble relating to other people who is now as an adult attempting to mentor two children.

However, Dazai's faults as a mentor are made much more explicit.

Dazai suddenly punched Akutagawa in the face, preventing him from finishing his sentence. Akutagawa flew back onto the ground, his head bouncing off the stone flooring with a thud. "Perhaps I made it look like I wanted to hear excuses. Sorry for the misudnerstanding," Dazai said while rubbing his knuckles. "Urg..." Akutagawa moaned. He'd hit his head so hard that he couldn't even stagger to his feet. "Give me your gun," Dazai ordered one of his men. The subordinate was hesitant but nonetheless handed over his weapon. Next, Dazai removed the magaine from the automatic pistol, took out all but three bullets, then put the magazine back in. He immediately pointed the gun at Akutagawa, who was still on the ground. "I have this friend who's supporting several orphans all on his own, you see," he continued his weapon still drawn and aimed at the boy. "AKutagawa I'm sure Odasaku would've been patient enough to give you the guidance you needed had he been the one who'd found you on the brink of starvation right in the slums. That would have been the 'right' thing to do. But 'righteousness' doesn't take very kindly to me. And there's only one thing people like me do to useless subordinates." Dazai mercilessly pulled the trigger the moment he finished his sentence.

(Don't worry, Akutagawa lived). Dazai is a character who had a troublesome youth he never grew up from. He was too smart for the world as a kid, and because of that joined up with the mafia because he wanted to feel like he was more connected to life and other people by getting closer to death (weird dazai logic I know) and was the best of the best at it, but it only drove him further away from people. He makes one friend, and loses that friend similiar to Gojo. Just like Gojo too, that friend is the one who gives him his purpose as an adult that drives him to mentor young people.

"Odasaku.. What should I do?" "Be on the side that saves people," Odasaku replied, "If both sides are the same, then choose to become a good person. Save the weak, protect the orphaned. You might not see a great difference between right and wrong, but... saving others is something just a bit more wonderful."

Is this not what Nanami said just in different words. Odasaku tells Dazai point blank, I know you're selfish, I know that you don't really have any concept of good or evil but you can choose to save others anyway.

Isn't this what Gojo does?

He is selfish. He doesn't really consider the morality or his actions or get hung up on the idea of protecting the weak like Nanami or Geto do, but he still does go out of his way to live for the ideal of saving children.

Both Gojo and Dazai are characters who are struggling with this ideal of saving the children, because while their ideals are good they themselves as people are morally gray. Adding onto that, they're also children and a good deal of their backstory is devoted to showing why they never really grew out of the mindset that they held as children.

The story doesn't call them horrible monsters for it, it's just saying that they need to grow up or face the consequences of not growing up.

"I have one regret," I said. "I never got to say good-bye to my friend. He was always there for me as 'just a friend.' He was bored of this world and always waited for death to come for him." "That man was in search of a place to die just like me?" "No, not exactly," I answered. "I thought you were similiar to Dazai at first, rushing into battle and wishing for death without even considering the value of your own life. But he's different. He's sharp-witted with a mind like a steel trap. And he's just a child - a sobbing child abandoned in the darkness of a world far emptier of the world we're seeing." He was too smart for his own good. THat was why he was always alone. The reason why ANgo and I were able to be by his side was that we understood the solitude that surrounded him, and we never stepped inside it no matter how close we stood. But in that moment, I kind of regretted not stepping in and invading a little.

Does that sound like the narrative is condemning Dazai for being who he is? No, it's Dazai's best friend offering empathy and understanding for how lonely it must be, and how if Dazai made real connections with people then he could have a chance of growing up like everyone else. That's what the narrative challenges Dazai to do while empathizing with why it's harder for him to and why he's still trapped in his youth, because to take care of children you need to be an adult yourself. Otherwise if you're a child, and I'm a child, then nobody's driving the plane.

Rupert Giles from Buffy the Vampire Slayer is another mentor who faces the same moral dilemna that Gojo does. In fact his entire character revolves around the fact he knows deep down he's sending a kid to her early grave.

Buffy is the Chosen One TM. One girl in all the world is chosen to fight the vampires. Much like sorcerer society, there is an entire bureaucracy dedicated to identifying the chosen slayer and then raising her up and guiding her as a weapon to be used against the threat of vampires and demons.

The watchers are all adults. The slayer is a teenage girl. The slayer slays. The watchers watch. Just like in Jujutsu Kaisen, there is a necessity for the Slayer to exist, because the alternative is just letting vampires eat people. Yet even if the slayer needs to exist, at the end of the day a bunch of adult men are sending a teenage girl to fight for them.

All Slayers die young. All of them without an exception. No matter how good of a mentor is, no matter how much he cares about her, Buffy is going to die one day, and Giles is going to watch. Because that's what the watcher does, they watch. Sending her on missions means Buffy's in danger, not sending her means innocent people are in danger.

It's a scenario that's pretty much like Gojo's, and the narrative of Buffy makes it explicit that Giles really can't be a father figure to bufy in this scenario. A father would have to choose to put their child above the world and keep them safe, not send them out straight into danger.

It is a choice that Giles makes over and over again. He is always her watcher and never her father. There's a season 3 episode where Giles literally drugs Buffy as a part of a test to prove she is "worthy" of being a slayer. A test that deliberately puts her in harms way that he complies with - because the system told him to. A choice to be her watcher and act according to what the council of watchers wanted and not what Buffy wanted. A choice that shatters the illusion that Buffy had of him, showing her that Giles is only there to teach her to be a Slayer, not to take her to the iceapades or buy ice cream with her.

In this scenario Gojo is very much like Giles as no matter how much he may personally like these kids, he is not their father, and there is only so much he can do for them when he's still feeding them into the same system. Giles loves Buffy, Giles wants to protect Buffy, Giles is a part of the system that exploits Buffy. Giles is an adult asking Buffy to risk her life to save the world.

Gojo goes out of his way to recruit Megumi, Yuji, and Yuta among others. Gojo still doesn't let them be anything other than sorcerers, and as sorcerers they're still guaranteed to one day die and probably die young. Gojo wants to revolutionize the system he is, but he still sends out his students to do missions as part of that system. He's not letting them escape it, he's just making them be stronger sorcerers.

Not only is Gojo not a father figure to Megumi, he is exploiting him more or less. The option of Megumi not being a sorcerer isn't on the table. No matter how well-intentioned he may be, or how good his ideals are he's still an adult telling a child to make a sacrifice for the world.

So, there are two character conflicts with two different mentors that both reflect Gojo. Gojo cannot grow up because he's still trapped in the tragedy of his youth. He himself is not an adult, for various reasons (lack of connection to other people, trauma in his youth) he's egocentric like a child but there are children in his life who need him to be.

Gojo also cannot be a proper adult, because he is part of a system that exploits children. We see what the system does to proper adults like Nanami, he shows us just how much well-intentioned adults struggle to help kids under sorcerer society so how about Gojo who thinks being a sorcerer is really fun. A proper adult would never send kids on those missions, they'd find some way to shield them but Gojo cannot do that. Because sorcerers are short staffed and innocent people will die if he doesn't. Because Gojo isn't the sorcer-king of Jujtusu Society and is working within it to affect change. There are reasons, but still Gojo is failing to live up to his desire to protect children because he's not doing what a responsible adult should do in this situation.

Gojo's failures are two-fold, and yet it's because of those failures that he was a main character who got as much special plot attention as he did. If Gojo was a perfect teacher he wouldn't be a character. After all, we relate to the struggles of other human beings we see onscreen in television and in movies so why would we care about a perfect character?

Gojo has a lot more to say about teachers in shonen manga, and also about childhood vs. adulthood as a bad teacher struggling to be a good one, then a teacher who's already perfect. Nanami said those lines because he wanted us to understand the audience that this is who Gojo is, he is a selfish and egotistical person who nonetheless was trying to do good things.

[probablyasocialecologist]

An innovation that propelled Britain to become the world’s leading iron exporter during the Industrial Revolution was appropriated from an 18th-century Jamaican foundry, historical records suggest. The Cort process, which allowed wrought iron to be mass-produced from scrap iron for the first time, has long been attributed to the British financier turned ironmaster Henry Cort. It helped launch Britain as an economic superpower and transformed the face of the country with “iron palaces”, including Crystal Palace, Kew Gardens’ Temperate House and the arches at St Pancras train station. Now, an analysis of correspondence, shipping records and contemporary newspaper reports reveals the innovation was first developed by 76 black Jamaican metallurgists at an ironworks near Morant Bay, Jamaica. Many of these metalworkers were enslaved people trafficked from west and central Africa, which had thriving iron-working industries at the time. Dr Jenny Bulstrode, a lecturer in history of science and technology at University College London (UCL) and author of the paper, said: “This innovation kicks off Britain as a major iron producer and … was one of the most important innovations in the making of the modern world.” The technique was patented by Cort in the 1780s and he is widely credited as the inventor, with the Times lauding him as “father of the iron trade” after his death. The latest research presents a different narrative, suggesting Cort shipped his machinery – and the fully fledged innovation – to Portsmouth from a Jamaican foundry that was forcibly shut down.

[...]

The paper, published in the journal History and Technology, traces how Cort learned of the Jamaican ironworks from a visiting cousin, a West Indies ship’s master who regularly transported “prizes” – vessels, cargo and equipment seized through military action – from Jamaica to England. Just months later, the British government placed Jamaica under military law and ordered the ironworks to be destroyed, claiming it could be used by rebels to convert scrap metal into weapons to overthrow colonial rule. “The story here is Britain closing down, through military force, competition,” said Bulstrode. The machinery was acquired by Cort and shipped to Portsmouth, where he patented the innovation. Five years later, Cort was discovered to have embezzled vast sums from navy wages and the patents were confiscated and made public, allowing widespread adoption in British ironworks. Bulstrode hopes to challenge existing narratives of innovation. “If you ask people about the model of an innovator, they think of Elon Musk or some old white guy in a lab coat,” she said. “They don’t think of black people, enslaved, in Jamaica in the 18th century.”

[constantfragmentation]

Arcane S2 Thoughts

I've had a week to digest this season and well, I guess I have the unpopular opinion of being very disappointed. After the initial flash of gorgeous animation and some ooo's and awe's.... I was left with a bitter aftertaste. I can rewatch S1 loads of time. I don't think I can watch S2 again.

I'm happy for the fans that loved it and got what they wanted or the shippers that got what they wanted. I'm happy for you. Do your thing.

Me? Not so much. Even as a Silco fan (and I admit to squeeing for any footage of him at first), I'm not pleased. Yeah, my young Silco is a nerd, man-bun hottie, but that's where it ended for me. His entire characterization was nothing like the character I fell head over heels for in S1.

Vander's Flashback: I honestly don't find Felicia's inclusion necessary at all. In fact, I think it waters down everything between Silco and Vander. Their knowing her and the kids creates more questions, plotholes, and problems than it supposedly solves.

Why is Vander only in those memories with the kids? It's before the fallout with Silco. Why don't the kids know or remember nice Silco? Why do they only fear him (obv that's from Vander and Benzo, yes?)?

Why doesn't Silco seem to know Powder at Vander's dead body? Why would he kill Felicia's kids? None of it makes any fucking sense if he cared about Felicia. He hates Vander so much, he hates the kids too because he adopted them?

How the hell does S2 Young Silco turn into S1 Silco? Riot really messed this one up. Vander's attempted murder didn't change his entire personality.

It was a rebellion battle. People were going to get hurt and killed. They had to know this. So, whether Silco accidentally killed Felicia (as some fans are debating) or she died, is so damn dumb for Vander to solely blame Silco. Takes the kids, becomes a pacifist FIRST and then decides to (shave and grow younger) kill his brother for the greater good. Doesn't make one lick of sense narratively.

The narrative, characterization and animation inconsistencies don't help from S1 either. The drowning scene doesn't fit the S2 explanation. They're too young. Vander had a beard and appears much older on the bridge. Hell, S2 Young!Silco looks older than S1 Young!Silco. Sloppy, sloppy, sloppy. If people want to kiss Riot's ass, fine, but there was too much that was straight up lazy writing.

Silco's death is just glossed over considering how important he is. Silco did what Vander couldn't. Even without Shimmer, the Underground was thriving. Cait's mother's death/burial/statue gets more screen time and Silco gets dumped in the river. No one seems to question his death or what happened? Yeah, ok.

I'll use this moment to complain about the excessive music video montages this season too. I watched S1 again and the writing and use of music worked in unison and enhanced scenes. S2 felt like scenes in between music videos and it was irritating.

There was so much screentime wasted that could have been good dialogue heavy scenes that S1 was great at. Instead, time wasted on poorly executed plotlines that needed way more time to flesh out (Mel, Ekko and Viktor) and we have slowmo music videos and MCU fight scenes. Hermie's guitar song and Mission Impossible jokster crap was laughable and not in a good way.

Riot tried to pack too much into one season, and it was a mess. This season felt like watching a Marvel movie. Cool action sequences with little to no substance. All the nuance and grit from last season were gone in favor of the 'good vs. bad' trope. All the political-societal issues in S1 were abandoned that were far more fascinating to explore.

Mel has superpowers now? It feels all out of place. Her, Ambessa, and the Black Rose plot have zero time to make it interesting and plausible. She was introduced as this master manipulator/politician and her sage persona feels so forced.

Jesus Demigod Viktor was too much. I was excited for the Machine Herald and the psychedelic Arcane magical multiverse took me out. Making him to be the big baddie and timeloop it around to Jayce felt like a big cop out. Viktor deserved better. Hell, Jayce deserved better.

So much was sacrificed to make the whole Arcane magic THE point of the series when it was one of the least interesting aspects of the show. Hextech for weapons and the continuing problems between Piltover and Zaun was RIPE for storytelling. It seems each act needed several episodes to cover.

Ekko sure as fuck deserved better than that half assed time warp with Hermie. The AU really bothered me. Everything felt wrong. EVERYTHING. Nothing was explained well at all. It felt like complete fan service at the expense of the characters. Before people rip me saying "well duh! It was an AU!". You don't assassinate characters and plot to have a happy ending that insults your viewers.

They turned Zaun (its own cool character) into the bargain basement of Piltover. How is it sunny and pretty? Really? Mirror tricks? Everyone just forgave Piltover after years of oppression?

You're telling me Vi's death saved humanity? Fuck that shit right now. Piltover just stopped because a kid died? Suddenly everything became better? What happened to Jayce? Viktor? Hell, Hermie after decades didn't give two shits about Zaun, so what changed with the Council? Where's Singed? I don't buy it.

I don't buy Jinx/Powder being super normal smart girl. I LOVE JInx, but I believe she had mental issues prior breaking into Jayce's apartment. I don't think Vi's death made that go away (as I don't believe Silco's death did either). As someone who battles with mental health, this is insulting to me as a viewer.

I hated AU Silco. There. I said it. He just forgave Vander? Really? Bullshit. The reason Vander tried to kill him is stupid. A simple letter changed Silco? That fluffy-haired softy is not Silco. I can't imagine that Silco being the one who fought a rebellion. He probably would not have become a mob boss peddling drugs but this AU softboi dad feels so wrong. I never would have stanned AU Silco. Not in a million years.

S1 Silco's traits didn't magically appear because Vander betrayed him. The young S1 Silco had to be similar in many ways to older S1 Silco. Drive, ambition, ruthlessness, willing to die for a cause. I don't see Felicia's death changing that. I certainly don't see Vi's death changing that.

If Vander needed to kill Silco to stop the violence, etc, it's because he saw Silco as a threat to him or society as a whole. S1 Vander is known as The Hound. So, he seems to be violent as well. He takes credit for building the Underground when Felicia credits both 'bozos' for it. So Vander being upset she died and blaming Silco to the point of murder is a slap in the face to fans' intelligence.

I do hate that by Vi's death, everything is magically better. I can't express how much I hate that. AU Powder was irritating and was nothing like my Jinx that I love. Again so much wasted time that could have been better spent on good character driven scenes that actually advance the plot.

Pointless characters. Introduce Isha (who I adored). Make her seem important to Jinx. Kill her and never mention her again. So what was the point of her inclusion this season? Just to make Jinx suicidal? I hated that also. Again WASTED SCREENTIME.

Oh, and Caitvi was a disgrace. I think shippers deserved better here, too. Caitlyn goes crazy dictator because of guilt over her mom. Granted, Caitvi only knew each other for a week-ish? Not a lot of time to make their relationship serious past an infatuation. Cait turns from all her good points last season to Ambessa's padawan.

Don't get me started on that side piece Maddie. Really? Cait you were that hard up? And that long awaited sex scene was a big eye roll. Vi goes to her sister, and shit goes to hell, and a few minutes later, she's fucking Cait in the same cell. Vi was reduced to shit this season.

I mean, these characters just got shafted in every way for a high speed train wreck ending that we've seen a million times in Disneyfied stories. Action sequences were more important than actual character development and plot.

You can't make me believe that one speech from Jayce 'seeing a possible future' suddenly got Zaun to work with and dress up as Piltover soldiers? Really?

I had high hopes for Sevika, and the girl got shit nothing to do except in two episodes. Her seat on the Council feels like a last-minute decision and not worthy enough to expand on.

What made S1 so great was the class divide between Zaun and Piltover and how it affected the characters. S2 decided to scrap that and go with the easy good vs evil trope instead. Even the parallels didn't have the same hit as last season.

I did like Jinx talking to her 'ghost' Silco in the jail cell. He was calming to her in contrast to Milo/Claggor except the implication that she should die (that's what I got out of that).

We didn't even get much from Singed. Yeah, he got his daughter back (in some form) but his story was so blah. We didn't get nearly enough of him and Warwick and what made Warwick.

I guessed a few years ago it was going to be Vander but I didn't like how it was handled.

Too many plotlines all rushed together without getting any decent screentime and explanations that don't confuse or insult viewers intelligence. OR you have to be a LOL fan/player to understand. I never played LOL before S1 and wasn't confused as to the main plot.

I loved all the characters in S1 and felt they were pretty much watered down or assassinated in S2 for an apocalyptical Demigod villain vs humanity battle done to death finale.

The Zaun/Piltover political-societal problems, parallels, corruption, science going wrong, pathway to hell paved with good intentions themes from S1 was so much better in every single aspect.

I'm still a fan of S1 and the characters and frankly, I'm going to ignore 95% of S2.

[alexanderwales]

The Index

This is an index of things I've written and posted online, with minimal descriptions because most of them have blurbs if you click the link. This list is not exhaustive, especially because there are a bunch of short stories and dribbles in various places. If something you liked is missing, let me know.

Web Serials

Worth the Candle - Juniper Smith is a teenaged Dungeon Master who ends up in a world filled with all the things he dreamt up for his campaigns, along with signs of his friend who died months earlier. This Used to be About Dungeons - Five teenagers live in a house together, bake bread, tend the garden, and occasionally fight monsters in dungeons. Thresholder - Thresholders travel from world to world, fantasy one minute and scifi the next, always encountering an opponent, growing stronger as they battle. Shadows of the Limelight - Fame gives you superpowers, and Dominic just saved the world's greatest hero from defeat in full view of a large audience. Glimwarden (unfinished) - A small town huddles around lanterns that keep the darklings at bay. Four teenagers must grow in power as the darkness encroaches. The Dark Wizard of Donkerk (unedited) - Two men steal a baby from an orphanage, then find out he's too cute to sacrifice and raise him as their own.

Fanfic

The Metropolitan Man (Superman) - Lex Luthor attempts to unravel the secrets of the alien. A Common Sense Guide to Doing the Most Good (Superman) - Superman gets really into effective altruism. Instruments of Destruction (Star Wars) - A fable of project management aboard the second Death Star, through the eyes of Admiral Tian Jerjerrod. Branches on the Tree of Time (Terminator) - Sarah Connor is working as a software engineer at UCLA when a naked man shows up on her doorstep. A Bluer Shade of White (Frozen) - Elsa can make life, and Olaf is smarter than he looks.

Shorts

Eager Readers in Your Area - Artificial intelligence has left authors scrambling for readers. Charlotte clicks on an ad. Variations - An orc visits an art exhibition where she feels out of place. Contratto - Julia takes a job as a marketer, working for the vampires to keep their secrets safe. The Randi Prize - James Randi offers a prize for anyone who can demonstrate supernatural abilities. Coming Home - After a long time isekaied to a fantasy kingdom, an errant father has coffee with his estranged son.

I also post short stuff to this very tumblr, which can usually be found under the #microfiction tag unless I forget. Usually this is mirrored on AO3, unless I'm lazy.

Web Comics

Millennial Scarlet - Lamont Pearce is a gig economy demon hunter whose mother ran a government agency meant to defend against Hell. Worth the Candle - A webcomic adaptation of the web serial

Non-Fiction

The AI Art Apocalypse - Slightly outdated thoughts from 2022. Why to Write a Sex Scene - Observations on the narrative purpose of carnal pursuits. Game Review: Underhill - This review contains no screenshots, because this game does not exist. Writing: An FAQ - Accumulated wisdom from 4 million words and counting. Creating Interesting Magic - A much-requested post on making interesting magic systems (and characters, and plots, and worlds). How to Write a Web Serial - It's both easier and harder than you think. The Trouble with Writing Nazis - On giving villains too much credit. Interesting Things to do with Time Loops - Exploring the boundaries of the conceit.

[orphiclovers]

Avatar - fundamentally broken skill?

This is a thing I have been thinking about. The way powers (skills, stigmas, whatever) work in the world of ORV is fascinating in that they are not designed to help the incarnation or adjust to their bodies like a classical superpower. It's repeated many times that the Star Stream is a cruel place, so of course it makes nothing easy on them. Just look at how many times Shin Yoosung and Lee Gilyoung bleed when using their skills. Or how Anna Croft and Yoo Joonghyuk were destroyed mentally by their repeated lifetimes - don't even get me started on Regression.

And Avatar is one of the skills that is the most developed. I've talked about how manifesting it seemingly splits you in two (I recommend reading this previous meta before this post) but what does that split entail, exactly? Here's my theories.

1. Author/Character divide.

If we take 1863rd Yoo Joonghyuk as an example, it's very clear cut. The black coat wearing YJH would be the 'character' who stays and dies and the white coat wearing YJH would be the 'author' who choses to write another story. 'Character' used here in the sense that Kim Dokja would look at them and be able to see/assign them this metaphysical trait, as he does for everyone else.

With Kim Dokja, it is basically easy too. 51% is the author, while 49% is the character, probably.

Han Sooyoung is more difficult. I think since Kim Dokja looks at 1863rd and says she is already a 'character', while 3rd stays a person the whole time IIRC, 3rd would be the 'author' self, even if this seems counterintuitive and like it should be the opposite - this makes the most sense with the second part of this theory.

Technically every author (or reader - someone with the knowledge of the narrative) becomes a 'character' (i.e forgets everything) at some point as per Star Stream rules, but this has not yet happened to Han Sooyoung of the 3rd round.

Still, it's not a perfect fit. Both Han Sooyoungs write novels and neither Kim Dokja does (not that writing is 100% necessary to be an 'Author', since YJH is one and barely writes anything until the epilogue) But it's still an interesting connection to explore.

Onto the second part.

2. Does the divide into two...actually work long term, because it doesn't seem to, based on the evidence we have?

First, let's look at 49% Kim Dokja. Perhaps Kimcom would have accepted him as the real Kim Dokja, like they do with Han Sooyoung, if he didn't ACT like a wet paper towel. The detoriation in mental faculties is very apparent and jarring and soon he falls apart physically too. This doesn't happen to 3rd Han Sooyoung, who is also an avatar, so what gives?

Well, it might not happen to 3rd but definitely did to 1863rd Han Sooyoung.

A 'probability storm is gnawing at her memories' and there's physical effects too. She says this has been happening for a while. Even though she has found a way of slowing down the effects it clearly doesn't fix the issue and eventually, despite her resistance, she might have become like 49% Kim Dokja.

(Maybe that's why she was so ready to leave her companions after the scenarios were over. If rereading stuff helps, perhaps that's also why she kept a diary of her round that 3rd YJH eventually got? Just spitballing, this isn't part of the theory.)

She names two possible causes to this detorriation - exessive use of the Avatar skill or Ways of Survival. 'Ways of Survival' probably refers to the Star Stream rule that once you reach the end of your knowledge you forget you were an author and become a 'character', which 1863 justifiably doesn't want to happen. Later, Kim Dokja comments on her 'status as a character' too, so it is related to that.

With 'overuse of Avatar' she could be refering to the way she makes thousands of them in her mind, but if we look at 49% Kim Dokja and the way their sympthoms match pretty closely, it's likely also the fact that another her - the main body/'author' - is running around in another worldline.

So for these two it checks out that one of the halves is always unstable.

With 1863rd Yoo Joonghyuk, well, it's hard to tell how it would have gone, since black coat YJH dies almost immediately. But the very fact that his avatar didn't even make it a couple minutes is also pretty telling.

As previously stated, nothing is stopping a skill from being harmful for the user. So maybe, one half of the initial avatar pair gets the short end of the stick and ends up slowly disintegrating. That's the basics of this theory.

Technically 51% Kim Dokja disintegrates into the Star Stream too but it is by a different mechanism, unrelated to the Avatar skill. First, he overconsumes probablility and shrinks into a child - this happens to Secretive Plotter too, it's just a thing.

Then, he loses his memories and if Kimcom hadn't interviewed would have become the same exact child that SP takes away in the subway, so that was just the time loop asserting itself. Like alt-1863rd YJH losing his memories when regressing to the 3rd round, or 1863 Han Sooyoung going dormant in Young Han Sooyoung's mind on the day the scenarios start. (Each of these are the looping points of the universe for yhk.)

But something about the way 1863rd Han Sooyoung in those 13 years sheds pieces of her story to create TWSA is very reminiscient of how 51% Kim Dokja disintegrates into the Star Stream on that subway. So perhaps there is some kind of connection there too.

[magpie-come-east]

Reducing Those Who Live in Death and Fia’s story to an analogue of the zombie apocalypse isn’t, like, the most egregious take ever. But I think it’s the most unsatisfying one.

Firstly, death is already messed up in the Lands Between. Marika excised Death to make herself and her children immortal, and make all souls reborn via the Erdtree. By the time of the Shattering, death has become even more twisted. Lots of people don’t meet natural ends. They literally become rotting, shambling corpses unable to die. But they are not TWLID.

TWLID I believe are specifically bodies reanimated without souls. And True Death in the Lands Between requires the death of body and soul. So I do agree this is unideal to society at large, because the GO has made true death extremely specific.

But TWLID are still implied to have a level of sentience. They are Life. The Prince of Death is a being still living. This is undisputed.

And by that token, I wish people would at least consider Fia’s motivations a bit more. And D’s words:

This is not a slight against D, but he is a mouthpiece of the Golden Order faith- a disciple of Maliketh himself. Like maybe we shouldn’t just wholesale agree with the language of a superpower that genocides and enslaves the ‘undesirables’ of its society? Maybe the narrative is inviting us to be a bit more critical of this ‘exterminate the vermin’ viewpoint.

I’m not saying Fia is the hero and D is the villain. But Elden Ring takes great pains to invite us to consider the humanity in all the peoples of its world. TWLID are no exception.