#honestly really interesting idea

[sweettjrose]

So....

This is happening.

You can watch the video here.

[gen-toon]

[starcurtain]

Hear me out. I know it's unlikely that Ratio would ever have been foolish enough to directly get taken in by a scam, but considering that we know:

One of the groups specifically tricked by Kakavasha before he joined the IPC was the Intelligentsia Guild

What he tricked them about was Tayzzyronth's Swarm remnants, the exact same thing we see Ratio investigating in his very first appearance in the game, and

The researchers were described as "extremely cautious"

I am surprised that "Ratio was at least somehow connected to the Intelligentsia Guild team fooled by Kakavasha before he was ever even a Stoneheart" isn't more popular with the Ratio and Aventurine fandom.

Like imagine being Dr. Ratio. You tell your colleagues, "This seems like a scam. Are you sure you should trust this 'local guide' you've made contact with? Tell me about him. A picture? Does this even look like an Egyhazan native to you? I won't save you fools from making idiotic decisions." (You end up having to clean up the aftermath of their idiotic decisions anyway. There is sand in places on your body you didn't even know existed before this. How mortifying for the Guild. For you, by association.)

Then, next thing you know, you get a mission briefing slid across your desk from your IPC connections. They want you to work with their new Stoneheart. You open the packet to see... that little bastard with the enthralling eyes who had your moronic colleagues scrambling in the dirt on a backwater planet for months. Apparently he's made a career out of fooling you your supposedly competent guildmates.

You run off to confront him. You never met him personally back then, but you deserve compensation for the idiocy you were subjected to nonetheless. He deserves to know how much of a pain in the ass he's been in your life already without ever having met your eyes--

He proceeds to shove a gun into your hands and tries to make you an accomplice to a suicide. Apparently, this is normal behavior for the man now called Aventurine. Somehow, it's supposed to prove to you that he is a sane and reliable individual.

Absolutely nothing in your life has been normal since Egyhazo.

You would like to have mundane problems, sometimes.

How do you keep ending up in this beautiful manic clever conman's orbit, and why, like binary stars, can you not escape the gravitational pull?

[theghostkingisdead]

dpxdc - Neglected Child AU

As one of his first acts as Ghost King, Danny basically created ghost CPS. Mostly they help new spirits come to terms with the fact that they're dead, but situations like Danny's are a lot more common than the Observants had lead him to believe. People who come back from the dead or are exposed to large quantities of unstable ectoplasm often lead sad, short second lives. Either because they are unable to obtain the nutrients their new forms require, or because their communities turn against them in fear. This is a story about Jason Todd.

There was a lot Jazz loved about her job. She loved helping young ghosts find acceptance. She loved matching cases with foster Fraids. She loved meeting new people. She loved the rare excuse to travel dimensions. But some days, Jazz was intimately reminded of why this program was formed in the first place.

Knock, knock, knock.

Jazz looked up from her laptop. “Come in!”

Apple – the ghost of a dryad whose tree was chopped down two summers ago – poked her head in.

“Uh, Lady- I mean, Ms. Phan-, no,” Apple took a shuddering breath. Jazz smiled encouragingly. The girl had only been working here for a season, and already she was making excellent progress. “Ms. Jasmine, there’s a city spirit here to see you, uh, on behalf of a uh, potential client.”

“Thank you, Apple, you can send them in.” Jazz said.

Apple flushed green, closing the door with a sigh. Jazz guessed she had about two minutes before the impromptu meeting began. She used the time to sweep some papers off her desk and into a drawer. It had been some time since she’d had a walk-in like this. Jazz had a strict open doors policy when it came to her office, despite the technical fact that her door was often closed; it was just easier to focus that way! She had no idea why most ghosts preferred to submit claims by mail, really it was much better for them to speak with an officer in person.

Thirty years ago, Jazz would’ve had trouble describing the spirit that walked through the doors. Fifty years ago, even looking at it would’ve been painful. But Jasmine Duchess Phantom had been living in the Infinite Realms for almost eighty years now, and liminal senses reached out subconsciously, cataloging scents and colors that her mortal mind would have balked at.

The shape of a steel-colored skeleton peered out at her from a billowing cloud of grey smoke, which curled around its feet and seeped across the floor. Jazz tasted gunmetal and sugar, smelled stale urine and burned bread, felt desperation-fear-hunger-love crash violently against her. Like a cliff to a wave, Jazz stood her ground, letting herself be tested. This spirit was old and afraid; when it spoke, it spoke in a million overlapping voices.

“My apologies for barging in unannounced, Your Grace. I come before you with an issue of great import. One I have reason to believe our King may have a personal interest in.”

Jazz nodded, “My doors are always open, City Spirit. I’m always happy to help. But before I hear your petition, may I know who I am addressing?”

The skeleton did not move that she could see, but Jazz heard windchimes like chittering laughter.

“I am Gotham, Your Grace. My apologies for my rudeness. I have little reason to travel these days and am unaccustomed to necessary introductions.”

Jazz nodded, committing the name and its taste to memory. “No need to apologize, Gotham. Your situation is not unique amongst your kind. Have a seat,” Jazz gestured at the plush couch across from her desk. “What troubles you so, to bring you so far from home?”

There was more windchime tittering, and Jazz wondered if the spirit was laughing or just readjusting itself on a plane she could not see. A nervous tick, perhaps? Maybe she could send Apple for something to make Gotham feel more at ease. Bullet casings or chocolate chip cookies would be equally soothing to this entity, Jazz guessed.

Gotham folded into itself, form blurring slightly before reforming on the couch, leaned forward with elbows on knees. “Many years ago, a mortal man pledged himself to my service. I accepted him as a City Guard, my mortal Champion. This man has many children who have likewise pledged themselves to my protection.”

Jazz smothered the urge to interrupt. She loathed the idea of child Guards; the fact that this City Spirit was here now asking for help meant that this instance had gone just as well as it usually did.

Unaware of her internal judgement, Gotham continued. “The second child died and revived some seven years ago, I…” This time, the rattling sound emanating from Gotham shook the room with the force of a thunderclap. “You have to understand, I don’t claim kids as champions, so technically he was never even under my protection. And when he came back, he ran! I don’t have power outside the city, you know, so even if, well, it’s not like there was anything I could have done differently,”

Jazz was aware that she was frowning. She could only guess what her aura felt like to Gotham, whose smoky aura was rapidly thickening. A bird puffing itself up to look bigger. A cheap trick. If Jazz were in a more compassionate mood, she might have felt embarrassed at such a juvenile display from a spirit decades older than herself.

“You neglected a child, or-” she cut off Gotham before it could protest, “allowed a child to be neglected. For seven years. What changed? Why petition him now and not then?”

Gotham chittered, “Well, you see, he came back to me just over a year ago, retook his pledge and everything. And, well, things were rough, I thought the fraid was just readjusting itself, but, er-”

“Tell me.”

“Well, the problem is I don’t exactly know what the boy is anymore, but he’s more ghostly than not, and his fraid’s fully human. If this infighting between my Guards goes on for any longer, it’ll tear me apart. I figured The King might want to step in, considering this boy might be a halfa, maybe he could help him and the fraid get back to normal.”

Jazz grinned. “Rest assured, Gotham, The Crown will indeed be taking special interest in your case.” Words dripped from her lips, caustic even to her own ears. “Now, why don’t you go outside and give Apple the rest of the details. I have some visits to make.”

[myokk]

fast sketch of ominis & fast intro to the ominis longfic I'm working on!! This is going to be the most self-indulgent pride and prejudice ripoff that ever existed, 100% based on the ominis of my oneshot💘

I am just OBSESSED with exploring the idea that he’s a natural legilimens & OBSESSED with the thought that he thinks too much for his own good🫶🫶🫶

Ominis Gaunt has always suspected he is cold-blooded.

It makes sense, really.

He always seems to be cold: frigid, long fingers that are often stiff and difficult to move; goosebumps raising the skin of his arms and the back of his neck any time he walks through the drafty halls of the dungeons; even his eyes, he has been told, are reminiscent of ice. They are apparently quite unsettling. The only time he feels comfortable in his body is when he basks in the heat of the sun.

His earliest memory is of the cold. It went like this: he was four years old: his older brother, Marvolo, had led him outside as a joke, he swore up and down that it was just a small joke, and how was he supposed to know that poor, blind Ominis would not be able to find his way back home? When his parents had finally found him, his frail mother sobbing and holding his tiny, blue, hypothermic body to her chest, Ominis remembers feeling quite perturbed at the disturbance. Couldn’t he just be left alone, in the silent soft snow?

He does not know if he has ever felt warm since.

As he strides through the dungeons, the copious amount of warming charms he casts on himself do not seem to be enough, but he keeps casting them anyways and also: wrapping his wool scarf more tightly around his neck, quickening his pace in the hopes that blood flows more easily through his limbs, wishing that he had remembered his gloves. Winter is always a terrible time of year (this winter more terrible than usual), and every breath of warm air leaves his lips reluctantly. How he wishes that he could just hold on to it a bit longer and yet the warmth leaves him precisely fifteen traitorous times a minute, the frigid air gleefully entering and burning its way down his throat in response. Maybe it’s a punishment of some sort.

His whole life has been defined by punishments and sometimes he preoccupies himself with the thought that it is the only way he can view the world. Most of the punishments are manifested in curses inherited from his family. (His parents and Marvolo insist that they are gifts, but Ominis begs to differ.)

First, his blindness: the only true punishment-curse that even his family rejects: caused by inbreeding, no doubt. He did not cry after his birth and his mother cradled his tiny body in silent arms, lovingly whispering nonsense-evil-Parseltongue to him but when he opened his eyes and she saw a brilliant celestine blue with no iris, she screamed in horror and shattered the frigid peace of the room. His parents tried everything to fix him, make him whole, throwing money at various possible solutions to no avail. Magically induced disabilities are not, apparently, curable by magic.

Ominis is not sure that he hates being blind, although he suspects everyone thinks that he should. It is as much a part of him as his fifteen-breaths-per-minute, and he thinks that vision is not all it’s cracked up to be. He is always terrified at the thought that his tenuous hold on sanity is only due to the fact that he cannot see, until he realizes he shouldn’t be terrified of hypothetical situations that cannot come to pass. He consoles himself with the thought that maybe, if he has had to give up his vision for his sanity, it is a small price to pay. Although, he also thinks sometimes that it would be nice to live a life without any morality holding him back.

He is entirely too introspective, after all.

It is precisely this introspection that is his downfall in this moment (and his cold blood). Ominis is so busy casting warming charms on himself and thinking in circles that he cannot use his wand to help him sense his environment and so he should not be surprised when he crashes into her.

And yet he is. Terribly surprised.

Maybe if he were not so caught up in his own thoughts he could have paid more attention to his surroundings. Instead, he spent too much time ruminating on his reptilian heritage and has now barreled head first into his arch-nemesis.

Rosalie Harris.

The girl who has stolen his oldest friend from him.

The girl who is currently making angry noises as she clambers to her feet and is picking up the things that he has crashed everywhere. Even if he could see, Ominis is not sure he would help her. Helping her would be akin to betraying himself, after all.

“Hey! Watch where you’re - oh, hello, Ominis.”

“Rosalie,” he says shortly, nodding his head where he thinks she might be standing and stepping to the side. He tightens his grip around his wand, feeling the texture of the wood change from rough to smooth as he runs his thumb down it. Smooth where he always seems to worry it, rough where the wood refuses to yield to the brushes of his thumb.

He surreptitiously casts the spell - he has at least done it so many times he no longer needs to say it out loud - and his surroundings light up. Or, he supposes that is the most apt description, considering he cannot actually differentiate between light and dark. He senses Rosalie’s silhouette to his left - she is standing with her arms crossed and her foot taps impatiently as she waits for him.

Waiting for what? he thinks, slightly irritated. She never seems to leave him alone and he wracks his brain trying to think of something, anything he can say to get rid of her.

Maybe if he speaks in Parseltongue, she would finally be scared away for good. He does not really want that second reminder of his family’s curse, though.

His family preferred speaking in Parseltongue with each other, believing the ability made them morally superior to everyone else and Ominis had not even realized until he had arrived at Hogwarts that no, it was not normal. When his name had been called at the Sorting, furious whispers had erupted amongst all the students, and his every step (terrified, confused, unsure - he had still been getting used to using his wand to navigate his surroundings) to the stool at the front of the Great Hall was plagued with a susurration reminiscent of snakes. Except these whispers, sneaking their way into his mind, had been unkind and overwhelming.

(He had not realized in that moment that he was also hearing their thoughts.)

Maybe now, with Rosalie standing in front of him and just annoyingly waiting for Merlin-knows-what, Ominis should use his Legilimency to find out what Rosalie wants. (He hates it, though.) It would not be difficult. (The thought makes him shiver in horror because he doesn’t want to abuse the ability.) He can feel the edges of her mind, her magic, and all he has to do is reach out - she is right there, and -

“Ominis?”

Her arms are crossed, he hears an impatient huff.

Why hasn’t she left him alone yet?

Hadn’t the Hogwarts Express already left the station, bringing all of the students home for the winter holiday? Ominis had thought he would be one of the only students left in the castle, and if he is being honest with himself, he had been looking quite forward to having the place to himself.

Ominis’s winter has just gotten infinitely worse.

Going to Gaunt Manor for the holidays is out of the question (he will not think about the nightmares that have been plaguing him ever since he received the owl demanding he go home), and Ominis does not want to be more of a burden to the Sallows. They already do enough for him over the summer, and Sebastian and Anne have convinced him to go to Hogsmeade with them at least twice over the next two weeks. Besides, with Anne’s curse progressing, Ominis does not want to be in the way.

“Why are you still here?” Ominis asks. He knows his voice comes across as cold as his blood, blunt, but he cannot help himself. Ever since Rosalie arrived - her entrance to Hogwarts also causing quite the stir - Ominis has been intensely annoyed by her presence. She is too happy. Too carefree. Too…well, everything he is not.

And, she does not seem to leave him alone.

Rosalie is always there, always hanging around Sebastian. (Taking Sebastian away.) He even showed her the Undercroft, which had almost caused a rift in their relationship. Ominis could not believe that Sebastian would be so careless, showing someone who for all intents and purposes is crashing her way into their lives, forcing them to pay attention to her. They barely even knew her, and yet Sebastian thought it was a good idea to show her such a sacred place?

(It does not help that she is intelligent, and Ominis has caught himself on more than one occasion about to ask her about her opinion on something before he catches himself.)

“I was looking for you.”

Ominis tilts his head at that and fiddles with his ring. He considers walking away, leaving -

“I mean…Sebastian said that you were also going to be here over the holidays and since everyone else just left I thought -”

“Thought what?” Internally, Ominis winces at the biting tone to his voice. It came out harsher than he intended, his voice loud and echoing through his mind, bouncing off the cold, stone walls surrounding them.

[sacchiri]

Nahh bro just doxxed integra hellsing💀💀

[actuallyjustabiscuit]

You know, you’ve been a good…friend to me.

Friend! I like the sound of that.

Ever since @endomentendo finalized Ragatha’s role in their Digital Wonderland AU I’ve been dying to do a redraw of one of my favorite pages from the graphic novel Wonderland by Tommy Kovac using these characters!

I love love LOVE Ragatha as Mary Ann!

[ficandkaboodle]

Someone (I don’t remember Whomst but please do raise your hand if it was you) once proposed the idea that Terzo might be a bit of a pianist based off of this image

And I just wanted to say that I support this idea. Not only because I think Terzo being able to play piano is adorable, but because it would make the Kazoo of Destiny even funnier in my eyes.

Dude is a classically-trained concert pianist, would make so many of his peers swoon by doing that dumb “Oh is that a piano? Don’t mind if I do~” bit and playing a concerto off the cuff. He could easily wriggle in a piano bit for himself during rituals and acoustic sessions — and the Clergy would’ve been on board for once because they know the power that a confident, handsome man with strong fingers can wield on an already horny audience.

But nope: He toot his lil kazoo, his favorite party favor he got three years ago at a New Year’s Eve party.

[bigcats-birds-and-books]

my OTHER toxic knitting trait is ignoring gauge entirely for plushies and being pleasantly surprised by the creacher's final size when it's done

[daily-odile]

Odile patting Molly Epithet Erased on the head, you know why

have two bc i care them

[twentyfivemiceinatrenchcoat]

childhood friend!sugu vs childhood friend!toru

YOU’VE COME TO THE RIGHT PLACE .

thank you for saying this anon i’ve been thinking of it a lot actually. i’m morally and legally binded to choose childhood friend!sugu no matter what because he’s literally……. my favorite Ever. and i think the inherent devotion of the childhood friend trope blends soooo well with his natural devotion. his protective urges. etcetc. i have wayyyy too many thoughts about childhood friend!sugu 😭 but it mostly boils down to him wanting to be by your side forever. he wants to make you happy and he wants to protect you and he knows you so well that he doesn’t trust anyone else to love you like he can. he’s selfish and he wants you to lean on him more than he wants anything for himself.

childhood friend!toru though….. i feel like he would be your estranged childhood friend. that makes most sense to me :3 like, you met when you were really really young, and ended up playing together in an empty park. he was a brat, kind of quiet, and you were just sweet, y’know? you were the closest thing to a friend he had as a child. then you ended up moving away, he never got to say goodbye… and you meet again as adults. you don’t remember him — it was just so, so long ago — but he remembers you. he remembers you a little too well.

so now you just kinda have to deal with this tall, handsome, cheery man who keeps talking to you like you’re best friends even though you literally don’t remember him…. he’s sweet though. a little annoying, but sweet. he has a soft spot for you. i think having anything remotely close to a childhood friend makes him feel human in a way he can’t help but crave.

sooooo. overall!!! both are good :3 i will always be a childhood friend!sugu truther before anything else but childhood friend!toru has sm potential..

[abandoned-quiche]

i am in the very small minority that thinks noelle wasn't actually killing darkners in the weird route. snowgrave is specifically labelled as "fatal" while iceshock is not.

they don't work like human beings, where your cells start dying if you're encased in ice. they're COMPUTER PROGRAMS; computer programs freeze. get it?

it still sucks that you did all that. everyone gets frozen and then left behind in the cyber world. but berdly was the only one you KILLED.

[knockknockitsnickels]

Thinking about how the Tower & the Adversary routes are connected through the Fury, and how you kind of get there by turning one into the other, and how horrified they are by what they become. Tower is about subjugation - she outright says she does not believe the two of you are on equal footing. You get the Fury from her when you assert your independence and fight back, forcing her to take you seriously as a threat and defend herself. Adversary is all about an equal fight - she prides herself on her strength, but also admires yours. You access the Fury through her by refusing to fight, watching her beat you to a pulp and become disgusted by what she does to you. IDK it is interesting how the Tower & Adversary parallel one another, and how you end up with the Fury in each route by doing what their sister route would have wanted you to do.

[hephaestuscrew]

"With a goddamn harpoon": The significance of Minkowski's weapon of choice within the narrative and characterisation of Wolf 359

TL;DR: Despite its initial comic role, the harpoon becomes a important symbol of Minkowski as a character; it is particularly associated with her desperate need for control, her desire to keep her crew safe, her stubborn determination, and her occasional unpredictability. These associations add to the narrative significance when Minkowski kills Cutter with the harpoon. 

[Tagging people who said they wanted to be tagged: @browncoatparadox @captain-lovelace @goblincaveofvibes ]

~~~

Ep21 Minkowski Commanding

First appearance 

We first encounter the harpoon in Minkowski Commanding, which is a significant episode for Minkowski's characterisation because it's the first big departure from Eiffel's point-of-view into Minkowski's. It's arguably the most Minkowski-centred episode in the whole show, so it stands out when we think about her as a character.

EIFFEL (over comm) Um, Minkowski? Why is the armory wide open, and also, apparently, robbed? Where's the tactical knives kit? MINKOWSKI Don't worry. I've got that. EIFFEL Oh. And the M4 carbine? The, like, really-dangerous-in-space, select-fire M4 carbine? MINKOWSKI Yeah, I've got that too. EIFFEL And this empty rack I'm looking at right now with a label that says "harpoon" suggests that... MINKOWSKI Yes. I have it, Eiffel.

The harpoon is introduced as part of a list of over-the-top weapons that Minkowski takes on her plant-monster-hunting mission. It's initially just a funny moment to emphasise how seriously she's taking this mission. The weapons arguably increase in unlikeliness as Eiffel lists them, and it's a comic image to think of Eiffel deducing the situation from the empty rack labeled 'harpoon'. It could have been an entirely throw-away joke that was never brought up again. The M4 carbine never comes up again. The tactical knives kit is mentioned in Knock, Knock, but not in a plot-significant or symbolic way. 

'Goddamn harpoon' speech

So why does the harpoon become such an iconic part of Minkowski's brand (and I'm pretty certain it was seen as significant by fans long before the finale)? It's got to be because of the next time it's mentioned, when Minkowski talks to the plant monster in the same episode:

MINKOWSKI (getting psyched up) You wanna play with me, huh? You wanna run rings around me? The joyless, boring, predictable old Minkowski? She can't stop you, right? Not someone as smart and powerful as you. You've got her pegged. Good. Get complacent. Get smug. That's right when you'll find me waiting for you. With a goddamn harpoon.

There's so much to say about this speech and what it reveals her character. For one thing, it's all projection - we have no real indication of what (if anything) the plant monster thinks of Minkowski. We don't even really know how much understanding it has when listening to her talk. She imagines that this silent adversary would call her "joyless, boring, predictable". I suspect that these are all things that she's been called a fair bit in the past. (To be honest, I wouldn't be surprised if they are all things that Eiffel called her at one point.)

But the harpoon is proof against - if not the accusation of joylessness - the idea that Minkowski is boring and predictable. Boring and predictable people don't opt for a harpoon for fighting on a spaceship when plenty of more conventional weapons available. A harpoon is unexpected, and there's a kind of power in that.

Another interesting thing about that speech is that the whole thing would make at least as much sense - if not more - if it was directed at Cutter. In Sarah Shachat's episode commentary on Minkowski Commanding (part of the bonus material available to buy here), she says that Minkowski "is really speaking to Cutter in this moment". It's made clear that Minkowski's behaviour in Minkowski Commanding is not just about the plant monster itself. She tells Eiffel, "I have to take it seriously! If I can eliminate one threat, just one, then we are that much closer to going home!" 

The specifics of the plant monster's location, abilities, and origin are mysterious, but - unlike many of the other forces threatening the safety of Minkowski's crew - it is at least tangible and harpoon-able and not light years away. Hunting the plant monster is a way for Minkowski to assert control when so much is outside of her control. It's an attempt to demonstrate that she is - as she puts it - "in charge of this disaster". Minkowski treats the plant monster as a physical symbol of all the threats her crew are facing, and so the harpoon becomes a physical symbol of her fierce (if sometimes misguided) determination to take control of the situation and fight back against those threats to protect her crew.

The line "you'll find me waiting for you. With a goddamn harpoon" is one that sticks in the mind, especially since - with one notable exception - 'goddamn' is about as potent as swearwords get on this show. And it's the harpoon that she uses to give specificity to the threat. 

Absurdity

A harpoon is powerful and threatening, which is exactly what Minkowski is trying to convey to the plant monster, but in this context - not only on dry land but on a spaceship - it's also kind of absurd. From the way we hear it fire in the finale, we can tell that it's more like a speargun than a hand-thrown harpoon spear, but it's still an out-of-place weapon for space-based combat. Minkowski's already been shown to have a penchant for archaic weaponry, after her drunken enthusiasm over the cannon during the talent show incident, which is largely played for laughs. Similarly, in the episode commentary for Minkowski Commanding, Sarah Shachat says that the harpoon was introduced mostly just because it was funny; "[including a harpoon] was me sort of embracing the Moby Dick of it all. And I had no idea at the time how much importance that silly harpoon would take on." 

Eiffel makes a Moby Dick reference himself ("10 days of Captain Ahab's Space Walkabout"). I haven't read Moby Dick so I can't properly analyse the significance of this reference, but the initial prominence of the harpoon (traditionally a whaling tool) enables that connection. It feels like a good example of the classic Wolf 359 thing where something comedic has the potential to take on a deeper significance. It conjures an image of Minkowski as a Captain with the potential to be consumed by a single-minded mission to destroy... A potential that she resists in the conclusion to Minkowski Commanding when she chooses to leave the plant monster alone. The harpoon also fits with the sprinkling of nautical imagery and language in Wolf 359 (e.g. the repeated use of the word 'boat'), as well as the retro-futuristic feel of the Hephaestus.

We never learn why there's a harpoon on the Hephaestus. It seems like yet another of those bizarre unexplained quirks of the station, like the items in the storage room where Eiffel finds Box 953. Even when the weird mysterious features of the Hephaestus are depicted in a comedic way, these features are still a demonstration of the fact that the characters are in an environment that they don't understand and that their surroundings have been shaped according to the whims of Command.

I think we can assume none of the members of the Hephaestus crew brought a harpoon up with them. For whatever reason, someone at Goddard Futuristics must have decided to put a harpoon in that armory. Like most things in the crew's lives, the harpoon is owned by Goddard Futuristics. So the way Minkowski uses the harpoon could be seen as an instance of reclaiming something from Goddard and their control over her surroundings (in a similar way to how her crew are able to utilise the maze-like structure of the Hephaestus to their advantage when hiding first from the SI-5 and later from Cutter and the crew of the Sol).

Other mentions of the harpoon

The harpoon doesn't actually make another physical appearance until the finale, when it truly comes into its own. But there are a couple of little hints before then that it has become a part of Minkowski's brand amongst the other characters as well as to the listeners. These mentions remind the listener about the harpoon, so we don't forget about it before its big comeback in the finale.

Ep27 Knock, Knock

EIFFEL [to Minkowski] Like getting rid of all the weapons, for a start. We should gather up all the guns, the tactical knives, your harpoon. Put it all in the arms locker, seal that sucker up, and put the key in one of Hera's service canisters.

In this quote, Eiffel refers to it as "your harpoon" - the only weapon he ascribes ownership to here. He sees it as something she's laid claim to. He also thinks the harpoon is worth mentioning specifically, which suggests that he thinks that Minkowski would reach for it first if she was feeling particularly violent. This reinforces the idea that the harpoon has become a symbol of Minkowski's character. This connection is also strengthened by the fact that the harpoon is also never mentioned in relation to anyone other than Minkowski using it.

Ep45 Desperate Measures

LOVELACE [to Kepler] Yeah, right. Nobody knows this station like Alexander Hilbert. He knows every nook, cranny, hidden room - everything. And as back up he's got the only woman's who's ever turned outer space monster hunting into a recreational sport. You'll never see them coming... until all of a sudden there's a harpoon in your face, and you end up on the operating table of the finest medical sadist that Goddard Futuristics ever produced.

Lovelace mentions the harpoon and specifically refers to Minkowski's plant-hunting exploits, even though she didn't witness them. So we know that someone has told her that story. And what she's taken away from hearing the story is an emphasis on Minkowski's harpoon and an admiration for her determination. I don't think Minkowski was the one to tell Lovelace about her plant-monster-hunting mission, because I don't think she's necessarily proud of it. I suspect it was Eiffel who told her - he's the most natural storyteller of the group. In Mutually Assured Destruction, soon after meeting Lovelace for the first time, he says "Nobody's told you about the Plant Monster yet? So, funny story..." And I believe  Eiffel would have told the story of Minkowski's plant monster hunt in a way that conveyed both the ridiculousness of her behaviour but also a kind of awe at her boldness and persistence.

The tone of "all of a sudden there's a harpoon in your face" is pretty similar to "That's right when you'll find me waiting for you. With a goddamn harpoon". Once again, the harpoon is portrayed as something that the Hephaestus crew's adversary won't expect, something that will play a key role in that adversary's defeat. You might almost think something was being foreshadowed here…

Characterisation through Weaponry

When we think of the harpoon as a symbol of Minkowski as a character, it seems worth drawing a comparison with the only other Wolf 359 character who I think has a form of weaponry as a big part of their brand: Jacobi and his explosives. While a harpoon certainly has a lot of potential for violence (a potential which Minkowski utilises), it is targeted and intentional in a way that bombs don't tend to be. It's harder to have collateral damage with a harpoon, and I think that reflects a difference between Minkowski and Jacobi's approach to conflict.

A harpoon isn't really designed for combat - it's for hunting whales and other marine animals. It feels significant that Minkowski's key weapon of choice - the one she threatens the plant monster with and kills Cutter with - isn't the weapon of a soldier. She took an assault rifle with her to hunt the plant monster, but that wasn't the weapon she held onto. She's not a natural soldier, even if she'd sometimes like to think she is. 

Maxwell's Death

When Minkowski kills Maxwell, it's with a gun, not a harpoon. She's trying to be a soldier there. She's trying to do what she has to. I don't know much about how a harpoon is fired, but I've a feeling that there's less uncertainty about whether a harpoon was fired deliberately than a gun; the ambiguity around Minkowski's agency in Maxwell's death is a key part of the story that wouldn't work with a harpoon. But perhaps more importantly, I don't think there's meant to be a sense of victory or relief in Maxwell's death, unlike Cutter's. The harpoon - as a weapon that has become strongly identified with Minkowski as a character - is saved for moments when Minkowski is asserting her power in an active way that she isn't conflicted about. 

Ep61 Brave New World

About a third of the way into the finale, there's another indirect mention of the harpoon:

RACHEL Y-yes, sir… Umm, we also picked up some chatter on their weaponry supplies… Firearms, explosives, something about a harpoon…

This is a nice little reference which reminds the listener of the harpoon in anticipation of its big moment later on in this episode, while once again playing with its incongruity in a list of more typical combat weapons. Given that Minkowski and co. have guessed that they are being listened in on here, their choice to talk about the harpoon might be seen as their way of having a bit of fun, or it might be seen as their way to imply the same threat that Minkowski made to the plant monster. Cutter had warning, but he didn't heed it.

Which brings us, of course, to the harpoon's most significant moment:

Cutter frowns. Then he hears it: CLA-CLUNK! His eyes widen.  MINKOWSKI Let's see you catch this.  FWUUUMP! An ENORMOUS THING IS SHOT. A moment later, Cutter COLLIDES AGAINST THE WALL, IMPALED.  MR. CUTTER ... a... harpoon? That's not... how this is... supposed... to... He struggles for a few more moments...and then he stops.

This scene is a classic instance of Wolf 359 utilizing the audio medium to leave a significant element of the situation unknown to the listener until the right moment. We don't know that Minkowski is carrying the harpoon. We don't know that she's readying it as Lovelace talks. When we hear something fire, there's a moment where a listener might or might not have realised exactly what just fired. It's Cutter who delivers the glorious revelation. It gives the moment an additional burst of triumph that Cutter's final words are an expression of shock, not just that he has been defeated but at the weapon with which the killing blow was struck.

Human unpredictability 

It's not just that Minkowski kills Cutter with a harpoon; it's also that she wouldn't have been able to kill him without it. He can catch bullets after all, so Minkowski and Lovelace's guns are basically useless. Cutter thinks he's therefore invincible, but he hasn't accounted for the possibility that Minkowski might have a less conventional weapon on hand, one which fires larger projectiles that he can't catch so easily. The fact that she's carrying an unexpected weapon - a weapon that might have seemed ridiculous - is what allows her to defeat Cutter and therefore to survive. 

It's a repeated theme in Wolf 359 that the protagonists' strength is not that they are the most powerful or they behave in the most logical ways, but that they are complicated and human and unpredictable and very much themselves - all of the things that Cutter and Pryce don't want in their 'ideal humanity'. When Minkowski kills Cutter with the harpoon, it's a victory for human unpredictability and individual idiosyncrasies.

Making good on her promise

Thinking back to Minkowski Commanding, we can see that the threat Minkowski made to the plant monster absolutely came true with Cutter. He got complacent. He got smug. (I'd argue that smugness has always been one of his key attributes.) And he found her waiting for him, with a goddamn harpoon. The return of the harpoon for this moment suggests the defeat of Cutter is a culmination of some of the motivations and traits that Minkowski showed when hunting the plant monster, now channeled in a more suitable direction. She continued trying to get them "that much closer to going home". Her - sometimes absurd - determination provides a throughline from an episode that was mostly comedic (Minkowski Commanding) to a dramatic emotionally powerful finale. As Sarah Shachat put it in her audio commentary, Minkowski "makes good on her promise [that she makes in her harpoon speech in Minkowski Commanding]. That's why she's a hero."

It's significant that Cutter dies from an unlikely weapon that is so strongly identified with Minkowski. It makes that moment feel like truly hers (although she is of course right that she couldn't have done it without Lovelace - that's called being part of a crew). 

As the Commander, it feels apt that Minkowski is the one to kill the long-standing 'big bad'. Pryce is arguably the same level of antagonist as Cutter, but he's the one that we've been aware of since we became aware of larger sinister forces at work in this narrative. 

And if Minkowski has a personal nemesis, it's Cutter. He's the one who recruited her into the hellscape that is the Hephaestus. He played on her ambitions to get her where he wanted her. She trusted him the way she trusted the official chain of authority at the start of the mission. And that trust was extremely misplaced.

The significance of Minkowski being the one to kill Cutter is highlighted by the fact that she kills him with a weapon that only she uses, a weapon that links us back to her behaviour 40 episodes earlier. The sense of control that she was desperately seeking in Minkowski Commanding might not be completely within her grasp by the end of the finale, but she's reclaimed a piece of it by defeating the man who has been exerting control over her life for so long. And she did it with that goddamn harpoon.

[whetstonefires]

I think it's reached the status of pet peeve for me at this point, how common it is in the fandom for people to assume that adoption into the Jiang family was a unilateral good, that Wei Wuxian definitely wanted and which was withheld from him, thereby proving he was not valued enough by his sect and teacher.

Partly just because that's boring, and leads to boring interpretations of the characters, personal opinion.

Partly because it often tends to reflect an uncritical absorption of the in-universe classist belief that being the son of Wei Changze was inherently valueless, and not worth keeping for its own sake.

And maybe especially because I'm starting to feel like it arises from an overall really flat perception of adoption as an institution, that American fans of a Chinese piece of fiction should maybe subject to more scrutiny.

[luna-rainbow]

Hello, hello, long rant incoming

When I reposted this on AO3, I had intentionally minimised tagging and summary because I wanted to archive it rather than attract readers. I didn’t even tag it Steve/Bucky because there just wasn’t enough mention of Bucky in it. Importantly, P*ggy was not tagged.

The user calls themselves “Rebuttal” and their only work is another essay rebutting someone else’s post on Civil War, which they had to post separately because I guess the OP blocked them. So we have a serial offender with too much time on their hands going around to directly suck the joy out of other people’s fandom experience.

They begin with this:

Although I don't particularly care for Steve's ending, this essay does not offer support for a different one.

*Inhales* Honey, can you please Google analytical essay and narrative essay before you unload your drivel on other people? This "essay" is a fic - while there's some character analysis, the emotive language should be sufficient clue that the focus is the story. It’s like reading The Fifth Elephant then writing to Sir Pratchett to argue his “essay on Discworld” is factually incorrect because it offers no support for the idea that the Earth is flat.

Steve is self-sufficient. He is not shown as requiring Bucky as foundational to his being. (…) We do know Steve was willing and expecting to go it alone after Sarah's death and that he is fully confident in his own abilities; he can "do this all day." Bucky's offer at the apartment earns a small smile, not a great overcoming.

I enjoyed how you, at multiple points in your essay, pick at certain turns of (evocative) phrasing while ignoring actual canon mentions. Explain why you deliberately omitted my mention of the canon phrase "Even when I had nothing, I had Bucky". Sure, Sarah was Steve's touchstone, but Steve's words clearly indicated that upon Sarah's death, that touchstone role shifted to Bucky.

Steve's "I can do this all day" is said a total of 4 times during all the movies. Each time he says it to a bully (one time he specifically says it to protect Bucky), and never in relation to his emotional turmoil. Also just, factually, he never references "I can do this all day" when Sarah dies can you be real for a sec.

It's mighty rich of you to say a grieving person who had JUST BURIED HIS SOLE LIVING RELATIVE that a) "he is willing to do it alone" - I can guarantee no one who has lost their sole beloved family member feels "willing" in that situation; and b) downplaying the smile that took all of Steve's energy to muster. All I can conclude is you know nothing of grief. (And since you love the word "disservice" so much - your interpretation of the scene is a fucking disservice to CEvans' acting.)

Steve's choice to go to war has nothing to do with Bucky. Steve has tried five times to enlist and stated his reasons, which have nothing to do with Bucky and everything to do with not liking bullies.

Because, you know, saying “I want to join the 107th cos I’m gay for my best friend” is going to go down real well in the 1940s military *snerks*

Can you get your head out of your ass for one minute and consider that people make decisions based on multiple factors? By acknowledging that Bucky is an important factor in Steve wanting to join the war DOES NOT MINIMISE STEVE'S MORAL COMMITMENT TO FIGHT BULLIES.

Steve is also not aghast at hearing Bucky's assignment. - Back this up.

Bucky does not believe in pre-serum Steve as much as pre-serum Steve believes in himself. - Right. *In Bucky’s tired voice* Because simply ~*♫~believing in yourself~*♫~ is going to stop you getting killed. This is a fucking war, not a back alley. Do you know the death rate for US soldiers in WW2? 1 in 40. For perspective, the death rate from coronavirus is currently sitting at 1 in 70.

Whether Bucky went to war or not, Steve wanted to go. - Again, back your ass-umptions up.

Steve was told Bucky was dead. He was going to try to rescue the rest of the 107th. Again, to suggest that Steve's courageous act is about Bucky is a disservice to Steve.

So not only do you remember fuck all about the movie where it doesn’t involve your fave, you apparently remember fuck all about the scenes where YOUR FAVE APPEARS.

P*ggy: “What do you plan to do, walk to Austria?” Steve: “If that’s what it takes.” P*ggy: “You heard the Colonel. Your friend is most likely dead.” Steve: “You don’t know that.”

NOW LOOK THOSE WORDS IN THE EYES AND TELL ME HIS RESCUE MISSION IS NOT ABOUT BUCKY.

Also, Steve wanting to rescue his best friend is a "disservice" to his character? Condolences to your friends and your character, I guess.

It is strange to ignore Steve's interactions with people other Bucky. Okay here we go, we’re finally getting to why this steaming trash heap landed in my inbox. It's Peggy who - I knew it. I fucking knew it. Of course it came from someone who likes Miss I-need-to-make-everything-about-me - appreciated pre-serum Steve at the flagpole - Oh you mean the appreciation she showed by not uttering a single word to him?

Peggy and Erskine supported pre-serum Steve's drive to do his part when Bucky did not. It seems truer to say that they more likely "kept Steve afloat" during his basic training, of which Bucky had no part.

Hold on. *walks off to cackle* *walks back, wheezing*. P*ggy kept Steve afloat? Miss-never-said-a-single-word-to-Steve-P*ggy, “supported” Steve during his basic training??

Again, I urge you to actually watch CATFA, where *checks notes* your fave has her biggest movie role. AFTER STEVE FINISHES BASIC TRAINING, the two of them sit in a car and exchange the infamous lines:

P*ggy: “You have no idea how to talk to a woman, do you?” Steve: “I think this is the longest conversation I’ve had with one.”

They have, by their own admission, not had a conversation before this, so which bull’s ass did you pull the “P*ggy kept Steve afloat during his basic training” shit out of?

There is nothing in the scenes to suggest he finds it a great miracle. The whole assumption of Steve's reaction seems to be a Bucky-centric projection rather than Steve-centric.

No, honey, I think you are just blinded by your Bucky hate. You looked at a scene where 2 characters (including your fave) claimed that Bucky is no longer alive, and Steve himself said, "I thought you were dead" - and Bucky was, against all odds and expectations of at least 3 different characters, found alive...and said, NAH NAH NAH NAH there's nothing here! There's nothing~here~to~suggest~it's a miracle.

Honestly I think you're the one living in a different plane of projection.

When Steve awakens in the future, his line to Fury is "I had a date." With Peggy, not Bucky.

Pfft he said “I had a date”, not "I had a date with P*ggy". So your interpretation is just as invalid.

And just, realistically, do you really think Steve is deluded enough to expect he’d wake up in time for a dance? And...do you really think Steve is desperate enough that he'd go for a woman who blasted him with live rounds for locking lips with another woman? When in your own words you said he hates bullies?

We do not know what Steve thought as he died, so saying he is content with death is not supported.

How about this -- "we do not know what Steve thought as he died, so saying he is not content with death is not supported". It’s my conjecture against yours and you’ve come onto my turf to be a presumptuous prick.

He has Peggy and Natasha. To ignore these two relationships seems to do a disservice to both characters.

Ah yes, the great relationship with P*ggy, who in 5 minutes of her screen time is characterised by: 1) mocking Steve as “dramatic” when he asks for guidance, and 2) her florid delirium in which he had to pull the emotional labour to placate her, and 3) her being grateful that she's led a great life without Steve.

If oldwoman!P*ggy was such an important relationship to Steve, he wouldn't have lamented to Natasha that "it's not easy finding someone with shared experience".

If there is any lesson Steve should learn in the modern day, it is that Steve sacrifices and Bucky leaves. Once involuntarily with the Snap, but twice voluntarily.

WHO THE FUCK HURT YOU AND MESSED UP YOUR BRAIN. I don't know how you can look at those scenes and pretend that the sole victim is Steve.

(Actually I can, because it's a common refrain from certain shit!stans who can't deal with the idea of Bucky being morally good)

Bucky sacrificed his own freedom and lived time in order to protect other people from getting hurt. And Bucky being involuntarily "Snapped" only counts as "Steve's sacrifice"?? The one who actually dies/gets Snapped isn't making a sacrifice? My gods the logic in this one is strong. (Also by referring to Bucky's death as Steve's sacrifice you have inadvertently acknowledged just how important Bucky is to him but I guess that flew over your head like the rest of this story)

It also ignores that Steve lived five years without all of those people. He had accepted the loss and changed into someone they would never truly know or understand.

Mate…

Do you hear yourself…

YOU LITERALLY WROTE THE COUNTERARGUMENT TO YOUR ENTIRE ESSAY.

Steve lived TWELVE YEARS WITHOUT YOUNG P*GGY. He had ACCEPTED THE LOSS (although, in my mind, it's really no big loss) and BOTH OF THEM HAD CHANGED INTO COMPLETELY UNRECOGNISABLE PEOPLE, not to mention they never truly knew or understood each other to begin with. So if your logic is that Steve has changed too much in 5 years to be around his old friends, why the fuck would he want to be around a woman he last saw 12 years ago and who he knew got an entire happy married life with another man. Eww.

I mean if NTR is your kink that's fine but no need to flaunt that on my turf.

The fun thing about fandom is that canon is open to different interpretations. You could read the tavern scene to say P*ggy is inviting Steve to be her right partner, just as I could point out that Steve’s pointed silence is a resounding rejection of that invitation.

But there is incorrect fandom etiquette, and that’s when you stomp into an innocuous narrative musing and start a ship war.

And I beg of you to learn another word from "disservice".

(The whole pile of horse shit for anyone needing to have their blood boiled)