#i could also talk about chang here but he's canon material is so little so i guess there's not a lot to mischaracterize

[dimdiamond]

❤️ for tintin if you're still doing the unpopular opinions ask game

OH RIGHT THIS GAME! OF COURSE! THANK YOU 💕

❤: Which character do you think is the most egregiously mischaracterized by the fandom?

*deep sigh* The most huh? What if I said Tintin himself? Look, I'm not against fanon interpretations and just going against canon because that's what you like and want to do. However, it gets really annoying when people take some interpretations as canon when it's actually not canon or, even if it is, not in the entirety of canon. And I think a big reason this happens with Tintin is because of the animated series, you know the classic one. Let me elaborate.

For many fans the cartoon series was their first approach to The Adventures of Tintin and for many of them it was a childhood favorite. This alone creates a bias, realizing it or not, especially if you haven't read the comics, the original material. Don't get me wrong, I love the cartoon and it's the most faithful adaptation we have of the comics but that doesn't mean it is faithful. Many scenes were cut, violence and alcoholism were limited to the point of changing scenes entirely (I'm looking at you Crab with the golden claws), heck even the official order of the episodes doesn't match the original publication order. There are many reasons for these decisions to have been made and it doesn't mean they're wrong, they just worked for this kind of media and for their target audience at that time (90s cartoons had many limitations regarding what it could be shown, including violence, but that's how we got artists getting creative with how to depict violent themes in a nonviolent way). Yet I have seen fans taking the ideas of this cartoon as if they are the original ones.

Tintin isn't a goody shoes. Tintin is very kind and caring but also chaotic and with his own values and ethics. He doesn't curse out loud and he represses many of his feelings and anger but he is also very patient and understanding. And most of all HE HAS CHARACTER DEVELOPMENT! Tintin from the first albums and Tintin in the last ones isn't the same guy! I understand people liking his character more in the first adventures but you can't characterize him the same in the later albums. And it's not only because decades passed during the serialization and Herge as an artist and writer changed. It's also showcased in the story, Tintin slowly gets stable companions, friends he shares his adventures and even his life and slowly he becomes mellower and yet more open and honest, he likes his peaceful life and doesn't chase adventure unless it comes to him. How can you have Tintin after Picaros behaving like prior meeting Haddock? As if his previous adventures didn't happen and affect him?

And what the cartoon depiction of Tintin does is to take his softer and calmer traits of his character and show them during all his adventures, regardless of how he acted at each adventure. This works for making an iconic and stable hero of a cartoon but it's not like that in the comics. The movie does the opposite but I see more fans accusing it of mischaracterization although this wilder side is also part of Tintin.

So in summary, my annoyance comes when I see Tintin characterized the same throughout all his adventures although this isn't how he is in the comics and I think this is because of the effect the cartoon had on the fans. In my opinion, Tintin's character is hard to grasp and get because he's the two ends of a spectrum at the same time, calm but violent, patient but impatient (his limits are known to himself only, you can try to kill him and not yell at you but you try to kill yourself and he'll make you regret it), selfless to the point of not caring about himself but selfish enough to do what he wants and believes is right etc.

He's such a fascinating character with many layers and it makes me sad when I see people read him as one dimensional character with no space for changes and development. However every person can have their own interpretation and such and I'm not the fandom police here so go have your fun!

[pennyblossom-meta]

L Lawliet: a deep dive into the expanded universe pt.01

EDIT (07/04/2024): Added some imgs.

Apologies for being so late to give this a follow up to @maevearcher's meta which can be found here and here. As usual, she’s made excellent points and I'll try to answer the ones which caught my eye.

Since this post ended up gaining a life of its own and becoming a bit too long, I’m splitting it in 2 or 3 parts. The core of the content for part 01 starts after under the button to Read More.

Here we talk about L's humanity.

I'll start with a disclaimer of my own: while I consider the manga as the base for the story, I'm very much open to the expanded DN universe as a complementary study of the characters and their motivations — sometimes even filling in the blanks for some of the background mysteries, such as the dynamics of Wammy's House and how L's successors view him.

To further clarify: by canon I mean the manga and any works by Tsugumi Ohba as the base material. I think @maevearcher and I are more or less in agreement on that, from what she mentioned in her own posts. As she said, the written word is indeed the baseline truth.

The expansion of the DN universe also has its own very special set of problems; for example, in many ways, L:CtW (L: Change the WorLd) commits the sin of overindulgence by throwing in considerations that, arguably, go against canon. Besides the ending where L lives for a final 23 days and Watari dies, the portrayal of Near in the movie (though in the novel he's also walking a fine line between becoming partially and very much OOC) is also a point of contention. I confess that I really wasn't fond of the way they portrayed Misa as a potential crush of L given canon insights on his opinion about Light whether in the role of Kira or as a person (pg.64 of Vol 13: How to Read, henceforth referred to as V13:HTR), but aligning L to become more humane and forgiving was at least interesting.

The same happens with the live action movies, the 2015 series, and the musical. At least the game Spiraling Trap isn't clashing with canon elements — that I could tell. The main plot is separate from the events of DN and the dating sim is a little slice of heaven into L's thoughts and emotions which I dearly love.

However, while L:CtW does indeed overindulge, the novel AN:LABB (Another Note: LA BB Murder Cases) gives us a singular glimpse into L through the eyes of Mello while keeping the events mostly accurate to the main plot, even with its slight deviations. It's certainly an optional perspective to the core of DN, but one that I always found very insightful. In V13:HTR, Obha mentions how he would’ve liked that there were more novels about L and how he solved previous cases, in a similar fashion to how Nisio Isin approaches AN:LABB. Here’s what Ohba says in pg.61 of V13:HTR:

(...) I didn’t think up much for [L’s] past. For him to be in such an influential position, he must have solved an amazing amount of cases, but I have no idea what kind of cases they were or how he solved them. But I would love for NISIOISIN, who wrote the Death Note novel, to write more stories about that (...)

This means that, to some extent, even the original author, Ohba, accepts AN:LABB as close to canon — or rather, as canon as it can get given the creative liberties allowed to a third party writer. To that point, Nisio Isin took L’s capoeira demonstration during the Yotsuba arc and made it a whole thing in the novel, with L taking inspiration from Naomi Misora’s skills. However, given the importance of that event, in the main story, L takes a while to even remember Misora so we can infer that either the stress of the case is getting to him OR learning capoeira and subsequently Misora’s role in it didn’t leave that much of an imprint on him because true canon didn’t really put that much emphasis into it. Either way, it’s an extrapolation that works. The technicalities can be overlooked given how ambiguous the scene is, as there is more than room to deduce a different past.

At the same time, I am an apologist that there are shared characteristics to L throughout the different mediums. My own interpretation of L's character has the manga as a baseline, but the expanded universe has taught me that there are sides to him that might not be so easy to perceive in dialogue bubbles or illustrations alone. Little things like L's addictive personality or the way he represses feelings are visible in the manga but caught beautifully in the novels, for example.

Going from the written word into the screen also represents a loss of the purity achievable only within the narrative in-book, where you can extrapolate and reach your own conclusions without being subject to the bias of sound and movement — though manga aggregates the visual to words and with it an altogether different dimension of meaning. That's one of the many things I enjoy about elements of fiction introduced through books; the stillness of the images and the narrative are more complex. Every time the baseline gets adapted, it loses something or that something shifts to fit into the perception of others. It ceases being pure and its essence is fundamentally shattered. Like the concept of a musical score on paper that gets played by an orchestra, there will never be an adaptation as good as the source material because it breaks the illusion.

While I can certainly extrapolate and accept the loss, I find that the written word from the novels, the tone of a VA's voice and the body movements in a live action still complement the manga well, despite narrative clashes.

About L’s humanity

Recently I've been re-watching the anime and it's incredible how Alessandro Juliani's understanding of the character resulted in such a well-rounded voice for L. I actually prefer the EN version to the JP because of the voice acting. It's superbly brilliant, even if L becomes less listless. He's certainly still aloof, but his aggressiveness is portrayed more vividly; in contrast, L in the manga feels a bit more dangerous and scary to me due to the range of expressions that the anime didn't manage to add in due to time and budget constraints. If anything L tones down how dangerous he can be. He does this on purpose so that he can trick and trip his adversary, as can be seen during his earlier interactions with Light. At times, L makes a mockery of himself, apparently placing himself in the position of a more demure individual while sharply observing the world around him and forming conclusions.

As to @maevearcher ‘s first point:

(...) An image of this lonely autistic genius, locked inside the confines of his ways, waiting for the right person to come along and save him from the banes of his solitary existence…until he meets Light and realises there’s someone out there who he can relate to, for understanding and stuff. I personally don’t buy too much into that.

The depth to which L relates to Light can be overestimated, but not without reason. Theirs is mostly an adversarial relationship with varying deviations throughout the expanded universe, but if we solely consider the manga then we get this comment from Ohba regarding whether L has any friends on pg.64 of V13: HTR:

Nope. And when he says that Light is his first friend that’s a big lie. He never considers him a friend. He probably secretly thinks really negative things about him.

During the Yotsuba arc, L is at a disadvantage. Light has turned the tables, tricked him into what Beyond Birthday could not do and thus gained a solid position into rendering L almost powerless to charge him. To elaborate on the latter point: BB wanted to create the perfect, unsolvable crime to humiliate L, making him lose, and thus “spend the rest of his life trembling in fear of B’s shadow” (pg.163, AA:LABB); L would know who the guilty party was but wouldn’t be able to prove it or bring that person to justice. As such, L would not be able to solve the mystery. At the end of the novel BB fails due to Misora’s quick thinking and that’s that. However, Light has several advantages that BB lacked, starting with his own social position, charm and the impeccable reputation of a model student and the prized son of a police chief who helps solve cases every now and then.

We can argue that, what truly happens in manga canon, is L and Light showing how much they respect each other for their detective skills, forming a sort of strange kinship within the cat and mouse game, especially when Light loses his memories of the Death Note. The game thrills them and they enjoy pushing each other’s buttons. No one else has ever challenged them like this. That being said, the first time they meet up for coffee after the tennis match, L is observing Light like a hawk, keeps testing him for a reaction and seems somewhat irritated at how much Light talks. I would venture a guess that L doesn’t actually like Light that much, even when he loses his memories. He might even find Light a nuisance when he waves the flag of morality — though this is a common problem L is confronted with when dealing with the Task Force, in particular Chief Yagami and Aizawa. This also places him at another gruesome disadvantage, as he’s surrounded by people who openly dislike and criticise his methods. The Task Force is also extremely wary of the way L pursues Light and think he’s being stubborn without proof to substantiate his reasoning. Ironically, it’s Aizawa, one of L’s most critical subordinates, who initiates Light’s downfall years later once he starts to consider L’s suspicions in light of Near and Mello’s tactics. 

Both L and Light respect the game, no matter where it takes them. I would further make an educated guess that Light even preyed on L’s vulnerabilities during the Yotsuba arc, predicting how L might fall into depression for failing at the game. Light was more than capable of understanding that L’s competitive and childish side would make him a sore loser, especially given that he had already “lost” the first round of battles just by showing his face. Even if there is a sliver of friendship between both during Light’s months of amnesia, it’s dead and buried the moment he becomes Kira again. 

My conclusion here would be that, while what happened with Light was extreme, it was also somewhat similar to Beyond Birthday’s eternal enmity towards L: the challenge, the need to humiliate and take down the greatest detective, one of the most brilliant minds to ever walk the Earth. There are some notable quotes from AA:LABB that reference what it is to be L, surrounded by future challengers and individuals who both look up to L and want to prove they’re better than him:

Pg.69

By simple arithmetic, L's ability in 2002 was the equivalent of five ordinary investigative bureaus, and seven intelligence agencies (and by the time he faced off against Kira, those numbers had leapt upward several more notches). This is easy to think of as a reason to respect and admire someone, but let me say this as clearly as possible: that much ability in one human is extremely dangerous. Modern danger management techniques rely heavily on diffusing the risk, but his very existence was the exact opposite. In other words, if someone was planning to commit a crime, they could greatly increase their chances of getting away with it by simply killing L before they began. That was why L hid his identity Not because he was shy or because he never left the house. To ensure his own safety For a detective of L's ability, self-preservation and the preservation of world peace were one and the same, and it would not be correct to describe his actions as cowardly or self-centered.

Pg. 117

L was the goal of everyone in Wammy's House. Everyone of us wanted to surpass him. To step over him. To step on him. M did, N did, and B did. M as a challenger, N as a successor. B as a criminal.

Pg. 160:

B approached Naomi Misora, calling himself Rue Ryuzaki. Rue Ryuzaki - L.L.  For anyone from Wammy's House, there could be no higher goal than identifying yourself with that letter - and Beyond Birthday seized this case as his chance.

One of the biggest problems with these quotes is that they paint a very complicated — and, ultimately, suffocating — picture of what it is like to be L. Ohba himself mentions Watari’s predisposition towards collecting geniuses from all over the world and what Wammy’s House has turned into, under the snippet for Watari’s character (pg.60 V13:HTR):

He’s a guy who cultivates detectives for fun. That’s kind of terrible, isn’t it?

Everyone profits from L. Watari becomes richer than ever. Wammy's House becomes breeding ground for geniuses who end up dreaming of a life where they enjoy constant thrill and challenge. However, in order to do so, the dream cannot be complete until the successor crushes the original; until M, N, B and A defeat L. At least one of L’s successors couldn’t handle the pressure and committed suicide. B, known as Backup, runs away from the orphanage and goes on a murder rampage. Having never met L in person, he deduces several personality quirks that the “original” demonstrates, going as far as exacerbating them in order to be creepy and repulsive. Mello, who boasts of having met L in person and being privy to stories about how he defeated several other detectives (then taking their aliases as a trophy) both fervently admires L and wants to step on him. 

Step on him. That’s quite the turn of phrase. It does sound scary, doesn’t it? To be surrounded by people who would take the opportunity to pull you down, no matter how much they admire you. They want to be you, to prove that they’re better than you. It’s game and ego. Life and death. Winner and loser. 

And that’s perhaps the most blatant summary in approved canon of what it is like to be L that we’ll ever get. We can, of course, argue that Watari cares about L. He’s not only his handler, but also the one who brought him into Wammy’s House. It’s fairly clear that he nurtured (and even enabled) some of L’s most distressing character traits, though I wouldn’t necessarily say it was with a purely utilitarian agenda. It’s perfectly acceptable to extrapolate how Watari might’ve wanted to keep L, a child of great intellectual genius, happy by allowing him to be challenged and properly educated. In fact, AN:LABB (pg. 145-46) even gives us L’s perspective on the kindness that justice can achieve, which is confirmed within the expanded universe to be similar to Watari’s teachings as L confronts Kujo in L:CtW. 

"I have nothing to do with him," L said. "To be completely accurate, I do not even know B. He is simply someone I am aware of. But none of this affects my judgment. Certainly I was interested in this case, and began to investigate it because I knew who the killer was. But that did not alter the way I investigated it, or the manner in which my investigation proceeded. Naomi Misora, I cannot overlook evil. I cannot forgive it. It does not matter if I know the person who commits evil or not. I am only interested in justice." "Only... in justice... " Misora gasped. "Then ... nothing else matters?" "I wouldn't say that, but it is not a priority." “You won't forgive any evil, no matter what the evil is?" "I wouldn't say that, but it is not a priority." "'But..." Like a thirteen-year-old victim. "There are people who justice cannot save." Like a thirteen-year-old criminal. “And there are people who evil can save." "There are. But even so," L said, his tone not changing at all. As if gently admonishing Naomi Misora. “Justice has more power than anything else." "Power? By power ... you mean strength?" "No. I mean kindness." He said it so easily. Misora almost dropped the phone. L The century's greatest detective, L. The detective of justice, L. Who solved every case, no matter how difficult... " ...I misunderstood you, L." "Did you? Well, I'm glad we cleared that up."

I would, once again, venture another educated guess that, while Watari’s primary reasons for starting a program of successors to L was noble, it ultimately backfired on an individual level. Society wise, the letters, as L calls them in L:CtW, are a force for good. They solve crimes, help law forces around the world to keep peace. Some of them even become scientists like Dr Kujo — though she becomes the main antagonist in the spin-off novel. However, the pressure this kind of lifestyle fostered creates a group of individuals who are highly competitive and manipulative. Some, like A, can’t handle it. Even L has his own troubles, being called a reclusive sociopath, possibly by the police forces who treat him as a utility rather than a person. He’s someone they admire and resent, who is tolerated given how effective he is at cracking down cases. 

This passage from L:CtW paints a grim picture of the way L suppresses his own feelings as he breaks down for not being able to prevent Maki from being kidnapped (pg. 150-51):

"Light...it hurts. My heart--" It was a hurt that L Lawliet had suppressed, that he had to suppress in order to continue his existence as the peerless Detective L. How had the world's top detective been described in regard to facets of his personality rather than his ability as a detective? He had been called a kinky detective who relished bizarre murders, a human computer capable only of measuring mass murders in terms of cold numbers, a reclusive sociopath. What L thought of such estimations of his personality only L could know. But no one could truly understand L. How L did not and could not forget the faces of thousands of victims. Who could comprehend the man who had lived his life, and had to live confronting all the lives that ended prematurely, the tears of grief-stricken survivors, the devaluing of life as a daily reality. How was it possible to measure the pain of such a man? Was it a strain so heavy that L's back curved under all its weight? Was it an agony so terribly to leave the indelible dark circles around his eyes? Was it a feeling so bitter that every bite he took needed to be coated in sugar? The chronically rounded shoulders, the inevitable dark circles, the eccentric tastes--L suppressed the pain of being a champion of justice, but the evidence of the pain was moulded into his very body.”

Even within the clear disparity from the official canon, this passage slaps. It humanises L further, making the detective become a person and not just a machine who is content with his lifestyle. I know there’s a tendency for those who prefer the manga to see L as someone who is unabashedly himself and perfectly alright with the life he lives. I would argue that the Kira case was not only the most difficult challenge L ever faced, but also a series of moments where he had to be at his best — and at his worst. He had to do everything within his power to solve the case, not only because of his pride but because of what he considers to be his sense of justice. Saying with such confidence ‘I am justice’ is a rather cheesy and childish thing to say out loud, though I read it as both what started as a child’s stubbornness and what L became, as he positioned himself as a barrier to prevent crimes. 

L suppresses himself, represses his emotions; he tries to control them, as Fu Takashi says in an interview, he is “dependent on games or battles of the mind”. Perhaps this is a consequence of the foundations of his personality. Despite L’s innate stubbornness, it could be argued that this is as much his fault as it is Watari’s, who didn’t nurture L’s social skills as he should have when he was a child. By not having an outlet outside of his hobby, L is trapped in a prison of his own making. Superficially, L is a “smart guy who hates losing”, but what about the rest? What about the things that make him human, the connections with others? In the same interview, it is mentioned how L feels lonely and needs affection. But what affection can you get when you isolate yourself from the world and keep everyone at arm’s length? He’s not a machine. Even machines become obsolete with time, and need outside help to keep functioning.

As for the latter point, if everyone around L is trying to step on him, humiliate him and surpass him, then it’s only natural that his emotional defences would be up. Aside from Watari, whose loyalty he can count on, he’s alone. L has no one else. And everyone around him will have a dangerous, significant probability to betray him.

Next in part 02: About romance, having someone close and intimate, the meaning of the Monster speech.

Tagging @rinneroraito and @sharkiethrts who might be interested in this meta.

[longing-for-rain]

What immensely bothers me about the way Kataang was written is that it not only hurt Katara's character, but Aang's character as well.

The writers set up the subplot of Aang needing to let go of his idealistic vision of Katara and then... just completely ignored it throughout the entirety of S3?

While I'm not saying that every ATLA character needed to go through an extensive character development, Aang having little to no development as a person and a leader (I am not talking about his physical training as a bender here) is some extremely disappointing writing, considering he is THE protagonist.

It's actually baffling to me how much the show deliberately dodges most oppurtunities to develop Aang as a character and how much the poor handling of Kataang plays a role in it.

Instead of Aang slowly growing to appreciate Katara as a person with all her flaws and quirks and trying to understand her way of thinking and culture, which culminates in him EARNING his Avatar state, we get the inconsistent mess, full of unresolved arguments and overstepped boundaries, that is S3 Kataang, Aang getting the girl only because he's the Hero™ (even though their last interaction before the kiss was an unresolved argument) and Aang being saved by Deus Ex Machina. TWICE. All of which could have been easily fixed, if the writers actually capitalized on the development that was already set up to happen.

I would be more willing to accept the points "he's literally twelve" and "why are you getting so worked up over which fictional characters are dating", if the writing didn't waste the blatant oportunity to develop the character, and if the ship in question didn't nuke any development its characters recieved.

Like, you don't even have to be a Zutara shipper to see how Kataang basically shat on both Aang and Katara as characters.

Agree with all of this, but I want to focus on this bit right here:

I would be more willing to accept the points "he's literally twelve" and "why are you getting so worked up over which fictional characters are dating", if the writing didn't waste the blatant oportunity to develop the character, and if the ship in question didn't nuke any development its characters recieved.

Here’s the thing. Aang is the protagonist of the show. You know, the one character who absolutely should have a solid arc and experience meaningful growth. I’m not saying he had no growth. But it’s just like you said, there are some pretty glaring plot holes surrounding his story. Could be excusable for a side character, but for the protagonist? Really not great.

And people will also act like romance is no big deal, but I think it really shines a light on how Katara is viewed by the creators and fans in relation to romance. From Aang’s perspective, romance can be treated as a minor add-on at the end because it’s narratively framed as his reward for saving the day. Aang doesn’t have to fundamentally change as a character to enter into that romance. It is written in a way that centers him.

Katara, however, does change. That can be seen in any post-canon material. I know they’ll keep trying to retcon this, but Legend of Korra will always exist to show us how little regard for these people have for female characters they’ve relegated to love interests.

[singularsoldier]

Why Scout and Miss Pauling are a terrible ship

Alrighty, if you’ve been into tf2 for awhile, you’ve definitely seen this pairing pop up. This whole thing is probably gonna sound like I’m beating a dead horse, but I wanna give my full two cents on these two using canon material (comics, game, and Expiration Date). Before I dive in, my stance on these two is 100% never gonna change. Save the counterarguments and keep scrolling

VOICE LINES

In the game, Miss Pauling has a lot of voice lines both towards the individual mercs and to the player themselves. However, how she speaks to Scout vs everyone else is drastically different. Let’s look at Scout’s when given a contract:

Starting off, Miss Pauling is…pretty rude towards him. “Wrap up whatever you’re bragging about” “I’m assuming you’re talking right now. Please stop” and others. It’s evident that she doesn’t want to hear a word out of his mouth. As we all know, Scout talk A LOT, but if she liked him to any degree, she wouldn’t be this mean towards him. If anyone even tries to say “well maybe she’s mean bc she likes him” no. Sorry, not how healthy relationships work. If anything, that further proves my point on why they’re terrible together.

Now, lets look at other lines (I’m too lazy to add everyone):

See the major difference? Miss Pauling isn’t mean, rude, or dismissive. She’s friendly! She’s joking! Lines like these show that Miss Pauling considers Engie (and everyone else) her friends. Scout gets nothing like that.

By the way, Miss Pauling canonically hangs out with the mercs (and Saxton’s assistant Bidwell). When you look at her contract lines with everyone else (including Bidwell), she’s cheerful and having fun. Scout on the other hand? She’s a frustrated dungeon master because Scout wants to make a muscle wizard and won’t stop flexing.

My experience with dungeon masters has been “fuck it, be whoever you want”. I had the dumbest, weirdest characters, and the DMs didn’t care! That’s the fun of d&d (g&g for tf2). Miss Pauling not letting Scout have a buff wizard, and Scout not even trying to follow the rules, shows how incompatible they are. Neither of them are willing to make a compromise especially because of the fact that Scout’s a pretty narcissistic guy. He’s a pathological liar in the comics (which are coming up) to impress people. Who wants to date that?

Onto the congratulations:

Pretty standard, right? Nothing extraordinary or, honestly, anything outside of standard professionalism. Scout gets a quick thanks and the line goes dead.

For anyone else:

The other classes get something Scout doesn’t: enthusiasm. Miss Pauling is beaming in her lines for the other classes. Also, Scout has the least amount of congratulations (only 5) out of everyone. Miss Pauling also says to a few other classes “i owe you one” and “i knew you could do it”. Again, ten times friendlier than how she speaks to Scout. If she liked Scout, she would have similar lines or ones that are even a bit flirtatious. Nope. Nada.

COMICS

If you’ve only played the game, you’re missing out! The comics are great (and unfinished), and they also reveal more of how Miss Pauling engages with Scout. For example:

Immediately stopping him from talking again, and straight up letting him get hanged. If that was my crush, I would, you know, not let go so they don’t die. She has very little regard for Scout outside of “annoying guy I work with”. Hell, she canonically spends more time with virtually every other class (aside from Engie obviously and maybe Medic) than with Scout. Another thing in the comics:

This right here. Scout has been working for Mann Co. for six years (meaning he joined at 21). In six years, Miss Pauling has made zero indication of liking him. What person goes six years without even trying to flirt or even hit on with their crush? Especially when Scout is VERY LOUD about his infatuation. Even the biggest introvert would jump on that free chance.

Oh, another thing! When Scout tries to get some alone time with her (while fighting for their lives) she turns him down. Pauling would rather watch Soldier and Zhanna fight naked while cover in honey than go with Scout (who wouldn’t?) which, when you think about it, caused Scout’s death because he faced the Spy bots alone. Sorry Scout, ass and tiddies are more important than you!

EXPIRATION DATE

The long adored sfm video. While the video pretty much cements Scout’s feelings for Miss Pauling, it also cements her lack thereof. Lets dig in:

First off, we know that Scout only had the bravery to ask her out because he thought he was dying. How does he invite her? By setting off the briefcase alarm!

As Miss Pauling says, it’s “the one button he’s never supposed to touch”. Not only that, but it wasted her only day off of the year. A fact she is visibly pissed about and refers to a couple times. Scout was pretty selfish to do that. Another thing, Pauling repeatedly refers to the “date” as a prom. (“Are you guys having a prom?”) She literally had no idea Scout was asking her out. Why? Lets face it, she would say no or dismiss him yet again. Even Scout knew that, so he faked a literal emergency that forces her to visit. Once again, lying to try and impress her with a date.

So, Scout comes up with an elaborately self centered plan to get Miss Pauling to come to the base, and when she wants to storm out, he desperately tries to save face with dinner. Cue our bread monster fight where Scout confesses that he likes her. And her response? Nothing. Throughout the whole sequence, Miss Pauling doesn’t answer or even respond to a word he says. You’d think if you were in mortal danger, you’d tell your crush “i love you! Now help me kill this bread monster”

At the end, Scout says “so its a date?” To which our beloved Miss Pauling says, “well, no. You did waste my one day off”. Not only that, but Pauling even offers for him to join her on missions, which he instantly says no to. Idk about you, but I’d bury bodies with my crush any day of the week. The fact that Scout was offered multiple chances to even be near Miss Pauling willingly, yet turned them down, is pretty telling of his character.

Scout wants a date, yes, but how he envisions it. Typical candles and pretty lights with a pretty girl. Meaning, what he enjoys and what he sees their romantic life being like. Not shaving off fingerprints or hiding bodies. Things Miss Pauling does literally 24/7. You know, things she likes doing. Its evident in her vacation lines that she wants to go back to work and that she isn’t a fan of vacations. Once again, Scout’s selfishness stops him from getting anywhere near the girl he’s obsessed with.

So, we have: Pauling doesn’t want to hear Scout’s voice, she’s barely cordial with him, she sees Scout as at best a coworker, and she was, indirectly, responsible for his death. (Note: not making this into A Point, its just fucking hilarious).

All in all, these two have no chemistry. Scout has a six year long obsession, and Miss Pauling has a six year long distain for our quirked up white boy. Their whole dynamic is the age old “dumb jackass loser wants pretty girl” and lets face it, we’re sick of that. Scout couldn’t even come up with a reasonable, honest way to see Miss Pauling in person. He selfishly wanted a date (that fits his myopic view of what dating Miss Pauling looks like) and didn’t care how he got it.

I’m not trying to attack anyone with this post. Its a ship analysis, and I hope it at least points out the major flaws between them. Unless Scout changes his entire personality (he won’t), Miss Pauling is never gonna like him.

[horizon-verizon]

I'm still trying to see this complexity that TG has, and that's why TG stans like them?? Alicent changes her opinion and personality every hour, is the complexity of her still having any consideration for Rhaenyra? not have imagined that a war would start? or just have the same crying expression? Please....!! What complexity does Helaena have? supposedly having dragon dreams and not knowing how to interpret them? the girl doesn't say anything in 1S and everyone just thinks she's weird, she doesn't do ANYTHING! Aemond's complexity is that he was bullied and became a presumptuous arrogant who killed his nephew? and I'm not even going to talk about Aegon..... he's an abusive drunk but yes.... he's a complex character

A)

I think that "interesting" for them is actually"potential for high drama, spectacle, and foolishness just because" for some TG stans who say the greens are more interesting. Yes, the green side is actually a complex group AND they rely on fear (amongst themselves and sometimes against the blacks) & strategy...because they have to strategic in order to try to justify some of their actions or wrest the power Rhaenyra's allowed or could accrue at court. To wittle her already-given status as heir to a more passive role. And beyond-court, they wished to convince the realm that Aegon was the rightful king both before and a little after he's crowned. The greens basically had the task to work past the whole "my heir should rule after me" deal that many lords wanted to stay as solid and meaningful as possible by precedent while also arguing on the precedent set by the GC of 101...which was itself a vote based on the adulthood as well as maleness of the candidate chosen. So, again they had to be strategic and shady and underhanded. And that will inevitably give us more drama.

Funny. Ironic.

We already know that the greens were not that successful with the convincing part even with Rhaenyra at Dragonstone and their long success at isolating her, bc it is only Alicent's move to hide Viserys' body, imprison courtiers and servants, hurry to search for Aegon that enables the greens to take the throne at the end AND Rhaenyra still was able to have many more supporters fighting before and after her death for her and her sons' claims.

Which if this is why you like the greens and not bc you think Aegon deserves the throne or ay sort of leadership [bc we see how unwilling and determined he was to not allow his grandfather to actually try to rule him in canon for the very paradigm that develops from Otto-Alicent's style & aims, they created their own monster], valid. I admit, they make the perfect antagonists & foils to the blacks and they do what they are supposed to do.

B)

People, not just TGs, have cited Alicent's past affecting how she views her own and Rhaenyra's motherhood, that chain of abuse. I'm fine with this, this is true. As for Aegon, I wrote a whole master post for what I think is his "deal" HERE, which is long but you can really sum it up as him trying to prove how great of a leader and man he is in lieu of the all the years he's been on the side and Rhaenyra was Viserys' heir. Yeah his life and misery and nastiness is in part bc Alicent wishes to prepare him to become king and "peacefully" reestablish the order of patriarchal feudal primogeniture/order so she'd not have to confront her own suffering and still materially benefit from it in "exchange". This sentence in itself reflects more on Alicent's complexity than Aegon's.

Aemond? Show!him, as presented, is interesting in that he's going to show a sort of vulnerability from his inflexible role as his side's militant "guard" and his worth being drawn mostly from that. He is there to be the support to Aegon's claim. hamliet describes what I am saying well. "Love is a transaction for the Hightowers". He seeks to "prove" himself and tries to make the glory of a warrior replace real love, but it can never so he's a ball of terror.

And love is a transaction, conditional and more so than on the black side because the greens really rely on putting their children's bodies to some sort of use, from Alicent to Otto to Aegon himself and there is no recourse or sign of deep bonds where each understands the other, comforts each other, reaffirms their emotions etc., or tries to make them happy just for the sake of it formed between any green member. (prob should have made this part part of the 1st paragraph but idk how to):

Helaena's body is made into a breeding machine for Aegon's claim for Otto

Aegon is a tool for Otto's desire to move the crown how he wants and is thus not really asked to be a great leader so much as it there & take his orders/suggestions

Alicent was a Helaena for Otto

Alicent uses her kids to stick it to Rhaenyra (show & book) or else ignores them bc of the troubled context from how they existed even as she genuinely loves them

Daeron--if the show will show that dynamic b/t Daeron and Ormund--is suggested to be more of a tool for his way into high prestige behind Alicent and Aegon's own rise, which is why Daeron's sent to Oldtown in the first place, away from his own family for years...yes I know about fosterage, but I'm speaking to the effects this has on the actual bonds b/t these family member s being reduced to transactions towards their goal towards power

So this troubling, repression, and denial of love is itself intoxicating, and thrilling to people who even don't have to be part of any team. I don't blame them.

C)

This issue for me is then:

Alicent could have been a lot more coherent without the inherent benevolent sexism of her becoming Rhaenyra's only friend and underdeveloped writing that makes her a lot less rational, deliberate, & mentally vulnerable to manipulation than she was in the book....all of which undermines her "complexity" bc she becomes less active as a character much sooner than she does in the book

people say all this ethically justifies the greens' actions, determine that their moral examinations of psycho-social conditions yield the correct and only conclusions to then just reveal that they just want their thoughts to be the general thought in contrary to the evidence in text, or hide behind their real biases and need for validation of those biases through the greens

Don't get me wrong, the black side aren't angels and do heinous actions...but it is simply true that they do not create the conditions for the war to begin and are also reacting to the usurpation.

Moreover, the blacks are pretty open when they can be to be about their actions and Rhaenyra is also already the heir. But the show didn't explore her life as a mother, what her relationship to womanhood as a mother AND heir looks like without Daemon there, or her kids' development after episode 5:

Rhaenyra being reduced to her body (advertisement of "Realm's Delight"; affairs and talk of them)

her kids' understanding, more of this from episode 6 and how exactly they interacted with Alicent's sons...how does Aegon enlist them and their frustrations against Aemond and from their perspective; court interactions, including those with Viserys and Harwin or any of the Strongs; education

Rhaenyra's perceived lack of ability that really just comes from her society evaluating her gender

[book] how she forms bonds with women around her, her relationship with Daemon and their journey towards each other, her relationship with the other Velaryons (Corlys and Laenor)

Daemon as a father -> how he "settles" but not really -> how he navigates/learns to raise another life form(s) & instill pride in their heritage and family after years of his beef with Viserys and losses and his resentments he tried to allay or "make up for" through social advancement and by becoming a warrior/has moved for mainly his own validation [idk how to say this concisely]

how he met and developed whatever relationship he had w/Laena...Corlys and Rhaenys' reactions to that (yes, bring Daemon & Laena back from Essos sooner)

The blacks comparatively do not have to be as underhanded and sneaky, and yet you will also have green stans argue that they are entitled, malicious, terrible threats to a perceived order (a projection--the greens are more that bc they are going against the king's word and what I said above about heirs and precedents).

This and majorly bc of how much opportunity we lost from the writing of this show focusing on developing the greens is also why they appear as "boring" or uninteresting while overbearing, scheming, manipulative agents of destruction at the same time to some people, even though they have more than their fair share of drama and angst from the very hierarchies they are perceived to totally benefit from.

[elendsessor]

fuck it heat headcanons i’ll make goofy ass headcanons all day long

-bipolar or at least has anger management issues

-yes he’s into vore just doesn’t know what it is

-i again enforce the chubby headcanon you cannot convince me otherwise

-agni runs on all fours

-better yet, agni is a weird bear and exhibits several bear like tendencies. all atma avatars are creatures.

-serph regularly spars with him for fun. you can also consider it a love language if you really want to.

-absolutely knows serph isn’t complete leader material. at one point he likely was but after the whole ground zero mass cannibalism incident and subsequent beating the shit out of harley q session, yeah kinda became obvious. still supportive of serph’s leadership tho because it’s not like anything about how the embryon operates changed except for the eating people part. serph was never a talker so the events of the first game are almost a normal tuesday for him. almost.

-i don’t really go here but a friend of mine brought up how he would be a bottom and. yeah. yeah he would.

-definitely overprotective of the whole tribe and by that i mean the members that matter if you weren’t embryon before chances are he’s gonna use you as fodder oops

-cielo is a little brother figure of sorts that will just never stop teasing him. heat acts like he hates it and he kinda does but can’t bring himself to actually hurt cielo in order to get him to stop.

-given how emotional heat gets, gale probably goes to him often to ask about feelings and at least try to comprehend them. post awakening he still does talk things out.

-tbh he would be at least an amateur cook

-another hc inspired by the manga anthology but the non “romantic” interactions between him and sera are canon they would be like that he’s a big bro ok

-sera does practice doing different hair styles with him. cielo guides her along. heat sorta just tolerates it but it’s a fun group activity he’s forced into.

-got put on a leash at some point and chewed it off don’t ask

-doesn’t know how to properly use a gun. agni forever altered how he views combat and that somehow led to him forgetting gun safety. probably ate his or something.

-you could pet him and he wouldn’t bite your arm off. only threaten to.

[thatswhatsushesaid]

I’m so glad you like Shi Wudu because I do too and it’s rare to find people who don’t hate him in the fandom. Like how can you hate him! He did it all for his brother! It was all for SQX! Was it ethical? Hell no but he’s so compelling as a character! I have /so/ many extremely complicated feelings about Shi Wudu that I could talk for hours about but all I will say is that “I decide my fate and not the heavens” is so metal and I think that there’s so much to say about just that line it makes me go feral. His relationship with Pei Ming also makes me go feral because the amount of trust (love?) that SW must have had in PM to trust him, at his lowest, with the most important thing to him (SQX’s life). Especially considering the fact that SQX has been antagonizing PM and been openly hostile towards him, for what we can only assume is centuries, and yet SW was certain that PM would put all that aside for his sake (and he did!)

Also I am now curious about the JGY stan to SW stan pipeline because it seems like we both experienced it and we can’t possibly be the only ones so now I’m wondering if there are people who like one but not the other and why.

(Also I saw your tags about beefleaf and you managed to capture my feelings about them perfectly. Like no I don’t want to read fluffy modern AUs I want to read fics where they both love each other but it’s not enough, they never choose each other and they’re both miserable and fucked up about it)

(Sorry this is so long!)

yo never apologize for sending long messages with your thoughts/feelings on these characters, i am SO HERE for reading them!! i hadn’t considered the presence of a jgy-to-swd stan pipeline, mostly because when i’ve checked the character tag, i’ve mostly seen comparisons to nmj and nhs. which dgmw, i absolutely believe that nmj loved nhs and wanted to protect him! but we know exactly what nmj would have done to save nhs from an unspeakably awful fate in canon, because that’s already something that is completely within his power to change. and he doesn’t do it.

also absolutely i believe swd loved pei ming—like i don’t think there’s enough in the source material to support a romantic or reciprocated romantic ship there, but that absolutely won’t stop me from doing it anyway, and in canon, it says so much that pei ming is who shi wudu tells shi qingxuan to go to after he dies.

😭😭😭 waaaahhhhh i love shi wudu, he’s insane, he’s a war criminal, he ruined poor he xuan’s whole life and afterlife, and he did it all for love of his little bother!!

[catohphm]

HPHM Ship Weekend - Day 3 - Sunset

A Moment by the Lakeside

Morning everyone! This is my third and last addition for @hphm-ship-week featuring my MC x Canon ship Cato x Penny, or Reesewood! Here they have some time for themselves by the Black Lake at Hogwarts during their seventh year early on, reveling in their deep feelings for each other. Once again special thanks goes to @autisticarachnid and @eternalchaoschocolaterain! I hope you all enjoy, feedback is greatly appreciated!

One weekend during September 1990, the young Cato and Penny were taking some time for themselves on the grounds beside the Black Lake. The sun cast a huge rippling sheen on the water, calm as ever. They were sitting together on the grass. Penny was slowly running her hands through his hair back and forth. 

“I’ve been doing the best I can looking out for everyone against R and those vaults. I get tired of talking about them though. They’ve caused too much grief for us.” he reflected in a semi-exhausted voice.

“I know. I’m just glad everyone is okay. You and Bea are among the first two people I think about. R is still out there but we still sleep better with Rakepick facing justice.”

Cato smiled at this, even if his facial expressions gave off a hint of reluctance. “I don’t feel afraid as much going after them, or even taking my NEWTs. I still told myself that I’d want to have as much of a normal seventh year as possible.”

Penny smiled and answered back with an assured voice “I think we’ll all be able to have that, thanks to your efforts.” while resting her hand on his shoulder.

He looked toward her and went for her hand resting on her shoulder. Their hands grasped each other and relaxed on the grass.

“I’d want our years at Hogwarts to never end but having you is going to make even the harder times better.”

Cato shared the sentiment. “With you I don’t have to think what if not?” he laughed.

“Not at all! We’ve already done so much. I never thought in the beginning that we’d be breaking curses at Hogwarts. I’m still glad to have done it with you, Cato-bear.”

They went into a short-lasting yet slow and passionate kiss. Cato and Penny’s romance had only grown over the years as they came of age, defying any kind of obstacle from school drama, Cursed Vaults, and the incursions of R. It would only keep going as it would help them get through the stresses of their final Hogwarts term together. They also intended to dedicate the year to enjoying their bond before their lives would inevitably change after they left school.

The young couple exited their kiss and looked at the sight of the sun over the Black Lake for a moment to relax in silence, still holding each other’s hands while resting them on the grass.  

Cato and Penny broke out of their silence when he reached inside of his school robe for something. “I got something special for you.”

She gasped a little in excitement. “What could it be, Cato-bear?”

He pulled out a small tan box from the robe and gave it to her. Penny took off its cover and laid it underneath its bottom half, revealing a necklace with a yellow-orange translucent stone that had flat faces and round edges. It had a brass ring going around the circumference of the circle where the two edges met. The small chain meant to be worn around the neck was made of the same material as the ring.

“Cato, this is an amber pendant. You picked something so beautiful!” she exclaimed with glee. “I’m curious where you were able to find this great gift?”

“Just before the year started, me and my friends stopped at this bargain store in the town we were staying at while on holiday at the beach. You said you were attending a function for potioneering at the time. There was nothing much interesting in the store to me, except for the pendant that caught my eye.”

Penny blushed a bit “Go on!”

“I thought of you when I saw it. I spent some time gazing at it, and realized I had to pick it up. It didn’t cost me much, but whoever made it did a great job because of how cleanly cut the amber looked. Nobody asked as we were all way too hungry by that point to think about anything else. I’ve been looking forward to giving it to you since then. This felt like the right time to do it.”

She grinned and put on the amber pendant. “Thank you so much for the sweet surprise, Cato-bear.” Penny pecked him on the cheek.

“You’re quite welcome. It looks really nice on you! The amber matches the color of the sky.”

“And it matches the bronze on your Ravenclaw tie, Cato.” pointed out Penny, with a playful giggle. “This is perfect!”

He blushed some and was joyful with a sighful smile. “I’m so flattered you like it that much. The pendant was just something little I found while I was-”

“Don’t worry about it at all! I’ve seen you have so much heart in you.”

“I’ve seen the same in you, Penny! It's the reason why I think about you a lot and are important to me. Do you want to go back inside the castle? It’s getting a little colder out here.”

Laughing a bit, she responded “I was meaning to ask that too, good call Cato!”

They rose up and took a minute to admire the spectacle of twilight in the evening sky, Penny huddled together with him.

She then took the lead and they departed, holding hands together.

[warlordgab]

Analysis of shipping: One Piece anti-romance arguments

Years before Oda was asked to write Strong World, years before the Summit War saga, even years before many of us joined the fandom, a significant portion of fans shared an anti-romance sentiment.

This perspective was so widespread that it seemed as if the One Piece community in general was convinced no pairing would ever become canon. Sure, there were some exceptions: 

Some people dispalyed indifference toward the anti-romance trend, but also towards the emotional narrative of the story. So, they would likely support shallow premises anyway

Others shipped characters by relying on inter-series comparisons that no longer hold up nowadays. (it didn't take long for perceptive individuals to find out how unlikely those "theories" truly were)

Some of these people were editors on other wiki sites, that pointed out how filler provided shipping fuel for stuff that never gets actual development in the manga. And yet, the same editors also promoted a non-existent "sexual tension" as many shallow shippers would, but I digress.

Still, since that era, a lot of arguments had been made for this position regarding romantic love; some were forgotten, and some stuck but in pretty unexpected ways.

So, here we’re going to consider those arguments, how bad they aged, and what possibly led to the anti-romance idea losing its initially strong foothold in the fandom.

The anti-romance idea through time

Firts, let us consider that one of the most important elements that helped the anti-romance idea to grow was how Oda talked about the subject. When the mangaka was asked about if someone from strawhats (except Sanji) was in love, he replied in a SBS they were all "in love with adventure."

While that was a pretty creative answer, it seems some readers weren't satisfied with Oda’s reply. But, it wasn’t like fans couldn’t agree that the statement was technically a correct.

Not to mention that fans back then didn’t have the Hancock character westerners simp so hard for. Instead, they had Alvida as the first woman calling dibs on Luffy...

... But, this was easy to dismiss given how they never became allies or friends.

Still, that doesn’t mean the anti-romance idea didn’t have its weak spots. In fact, Oda gave us an interesting “insight” on one scene, that LuNa fans loved, in the SBS Volume 32:

This was long before Summit War saga. It's interesting how the only girl that managed to make Luffy a “little horny" was Nami.

It’s true that the Oda’s answer would later change to what basically amounts to “bad influence,” when he was confroted with the fact Hancock’s beauty couldn’t get the same response from Luffy. But, the fact, still remains that it was Luffy’s response, unless people want to argue Luffy’s companions have a greater influence on his libido than Hancock’s beauty ever could. Doesn’t sound so good when you think about it, does it?

Of course, a lot of perceptive readers and even some anti-shippers know that being as “horny” as a “healthy boy” is not something inherently romantic. So, even if this moment left a crack on the anti-romance argument by displaying Luffy’s “healthy” reponse to Nami’s sex appeal, that still wasn’t enough to debunk it.

Needless to say, some anti-shippers may claim being “horny” is a must for a relationship to grow, but that myopic perspective completely disregards how emotional connections can develop by sharing meaningful moments instead of lusting after a potential partner. 

Moving on, Oda’s vagueness back then just encouraged readers to keep discussing the subject of potential romance by relying on the manga material they had so far. Still, the anti-romance crowd would shortly get another argument, when Oda stated the following:

“One Piece is basically a shonen manga, manga for boys, so romance isn’t depcited“

Ironically, this is where the another crack in the anti-romance idea starts to show. As many chapters later, we got something subtle about Usopp and Kaya at the end of the Ennies Lobby arc.

But, the fact the story focused more on its plot, themes, and other characters, probably made it easier for everyone to miss how this relationship could contradict the 'no romance depcited' argument.

Later, the fandom got introduced to Boa Hancock. While Alvida’s interest in Luffy got scratched as “not romantic enough,” Hancock’s infatuation for the hero couldn’t be ignored due to how over-the-top it was. But, it still wasn’t enough, why?

Because the relationship between Luffy and Hancock never develops into something deep or truly impactful, as Hancock’s crush remains as one-sided as it can get.

Luffy’s rejection to Hancock’s proposal just made it a lot easier for the anti-romance argument to stay strong despite the few cracks it had at that time.

Specially, when you factor context. Luffy’s reply was framed as a negative response to Hancock’s promotion of herself as a potential wife. Add Luffy’s personality to this setup, and no matter how you try to put it, he sunk that ship before it had a chance to sail.

Debunking the “no romance” myth?

So far, we’ve seen things that could a best put a dent on the anti-romance argument. But, what actually destroyed this myth?

We have to flashforward to the Dressrosa arc. Two pairings with tragic backstories were introduced: Kyros and Scarlett & Señor Pink and Russian

Kyros' relationship Scarlett story serves as part of the compelling drama of his background. And we can tell how Pink’s relationship with Russian made his character and current state and struggle emotionally impactful.

This obviously destroyed the argument of “no romance in One Piece” and contradicts Oda’s own “romance isn’t depcited”

It became easy to see that romantic love was not only playing a part in the story, but it was doing so in a way that didn’t negatively impact the author’s work. Instead, Oda used romantic love to enhance both character and story.

And this wasn’t going to be the last time, as One Piece Film: Gold gaves us something we’re about to consider in the following section, as Tesoro and Stella were depicted as lovers.

However, the greatest blow to this argument was delivered by something that not many people saw coming: SanPu's tragic love story

We already know that Pudding’s initial affection was just an act to fool Sanji and carry out Big Mom’s plot against the Vinsmoke family. But, as soon as she has her first genuine moment with Sanji, she develops actual feelings for him as the chef shattered the image she had of her own self for years. 

Needless to say, due to their respective crews being enemies, this relationship couldn’t become official, as Pudding gives Sanji a pretty romantic farewell... before removing it from his memory.

Here, romantic love plays a important role in the emotional narrative of the final scenes.

I could mention Kinemon and O-Tsuru, as well as Oden and Toki, but I think that would be overkill at this point.

Still, while the “no romance” myth got destroyed, the anti-shippers didn’t give up, those who saw how this approach became ineffective in promoting anti-romance just made their arguments undergo a microevolution. And this is where we get to the final stage:

“They’re in love... with adventure”

Given that the statment of “romance isn’t depcited” became completely useless, one would think that’s the end. But, instead of trying to encompass the entirety of One Piece, the idea came back to its origin.

All strawhats are “in love with adventure,” so accordig to self-aware anti-shippers, there will be no romantic relationships between members of the strawhat crew, because adventure is their only “love.” But, as the philosopher George Santayana once said: 

“Those who cannot remember the past are condemned to repeat it”

And even the old version of this argument started to shows some cracks at the Zou arc:

Nami was both happy and eager to receive Luffy and the rest, and as pointed out by perceptive readers, she could've ran to someone else, like Zoro, something some westerners in high positions clearly wanted, but I digress.

Instead, she went straight to Luffy and only then she let out how she felt about their current predicament with Sanji...

...people try to downplay it by saying the moment was all about the chef. But, the thing is, not only she could’ve ran to someone else's arms, she ran straight to Luffy, but also poured her heart out only when she was with him.

This scene was truly remarkable as it was not only impactful, but also consistent with previous developments between Luffy and Nami as seen in Oda's works.

As we already already analyzed multiple times in this blog, this matches the trend of Nami seeking (and finding) hope, comfort, and strength in Luffy.

While this isn't something explicitly romantic, this consistent bonding could likely lead to a potential growth and an eventual relationship upgrade if the author keeps working on it.

After Dressrosa damaged the credibility of their arguments, and the possibility of more development from characters so important to the story, anti-shippers had seen better days. But, that wasn’t the only thing that left another crack on the last anti-romance argument.

Let’s talk about One Piece Film: Gold

At this point, a lot of LuNa fans, and many people who read my post already how Oda changed the climax of One Piece Film: Gold, and his work speaks for itself...

...as explained in the special Volume 777, Tesoro was in a romantic relationship with a slave: Stella. Their romance ended up in tragedy when he failed to save her from getting bought by a noble.

If we see the climax of the movie, as well as Oda’s draft of the scene, we can see that the intent was for Luffy’s situation with Tesoro holding Nami in his grasp to mirror Tesoro’s own tragedy back when he lost Stella. And thus Oda drew a parallel between Luffy/Nami, and a romantic pair: Tesoro/Stella.

However, many people would find such things too subtle or simply insufficient. But, even if we ignore emotional narrative and trends, the real weak spot in this “no romance in the crew” argument, is the basis itself: “They’re in love with adventure”

This isn’t only a clever response, and a way to avoid the subjet. It is a reminder of what One Piece is at its very core. 

You probably don’t hear this one pretty often, but One Piece story is “romance.” In fact, here are some definitions that show how that statement is far more accurate than more people would imagine:

Romance:

“A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful”

“A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place”

“A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes”

– thefreedictionary.com, 2016

“A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious”

–  Merriam Webster, 2016

Romantic:

“Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized”

“Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous”

–  Merriam Webster, 2016

Remember what’s the title of the first chapter of the manga? “Romance Dawn.”

The claim of the strawhats being in love with adventure fits the definition of “romance” in the framework of the series. But, does this concept exclude romantic love?

No, this narrative style can easily include romantic love if the author wishes to. In fact, as far as we seen, One Piece featured this kind of relationships multple times in the story.

So, trying to uphold this anti-romance phylosophy is ultimately pointless as the only argument left is not enough anymore, and the story already debunks most, if not all of the arguments.

Shippers take the anti-romance approach?

While anti-shippers don’t have a solid ground to stand on, some of their arguments are still used nowadays. Ironically, they’re used by shippers in an attempt to discredit rival pairings

This why the “no romance in the crew” lives on. More often than not, shallow shippers don’t even try to quote the author, instead they repeat what they hear or read in YouTube or Reddit. 

This applies to many newcomers that lack the time and patience to stomach a long-running series, as well as people who let their bias for certain characters dicatate their view on the story, something akin to the mindset that feeds the endless squabble of Zoro Vs. Sanji.

Still. the point is that the anti-romance arguments are now the greatest assets for pretty loud individuals to wage shipping wars out of ignorance and hate.

However, this doesn’t mean that there aren’t any active anti-shippers using these arguments. It’s just that LuNa seem to be their favorite target

But, that leads to the question: Why LuNa? Why are pairings like LuHan, SaNa or ZoNa seemingly getting ignored by anti-shippers for the most part?

Well, you guys probably realize I haven’t mentioned Sanji at all in the “Debunking” section. That’s wasn’t something incidental

By the time, the community rebuffed the idea of romantic love in the series, Sanji with all his corny flirting and pervy gags never made a dent in the anti-romance arguments because most people knew back then that being horny is not something romantic. Even when Hancock appeared, fans knew a well-written pairing could only happen if the feelings between the characters become mutual.

So, what makes Luna the favorite target of these people? What makes the pairing stand out to anti-shippers?

Is it because their consistent bonding is the perfect setup for a relationship upgrade? Is it because their moments are far more meaningful and impactful from a narrative standpoint? Or is it because the alternatives to LuNa lack the potential to grow? I’m not sure about it

Still, those who had seen all of this, know better. At this point, anti-romance arguments mean little to nothing in the story. And Oda will keep writing characters and human relationships regardless of what fans do or say.

So, instead of going around making noise about how “there shouldn’t be a romantic relationship in the crew” or trying to start senseless war between fandoms, we should enjoy the ride and see what Oda has in store for us in the final saga.

[slytherheign]

WORTH THE PAIN | tasm!peter parker

PART 4/5 OF WORTH: THE SERIES.

PAIRING: tasm!peter parker x fem!reader

WORD COUNT: 4.7k

SUMMARY: trusts are broken and tensions rise as everyone’s secrets start to reveal themselves.

WARNINGS: sexual assault, character death, manipulation, stalking, cursing, violence, and canon-typical injuries. let me know if i missed any warnings. [⚠︎︎RATING: 17+]

AUTHOR’S NOTE: please remember that this is fan fiction and so some characters here will not act exactly the same way as their original material. this is my own twist and take of those characters.

DESTINATION: Angst Avenue | GO TO SERIES MASTERLIST or GO BACK TO THE STATION.

"Peter, please calm down,” Charlene pleaded with worry evident in her tone.

To say that the apartment was a mess would be an understatement. 

Peter spent the last 15 minutes frantically trying to find his missing phone while Charlene tried to calm him down. Carlos merely stared at the mess, completely frozen. It was the first time the couple had seen Peter like this. And him crawling around the place with his spider-like abilities made the situation more intense.  

“Oh, for the love of Go–PETER!” she bellowed. Peter stopped for a moment, glancing at her before going back to making a mess. Charlene had enough; she knew Peter was not in his right state of mind, and panicking would not help them make any progress on the case. She slightly nudged Carlos for help, but her partner was glued to his place, still shocked by the sudden change in Peter’s behavior. 

And to think that all it took was a name for Peter to behave like this.

“Peter, please,” she tried once again. “We can’t draw conclusions immediately. I know you’re really worried about her right now, but we have to be smart about all of this.”

Carlos seemed to be back on track. “She’s right. Come on, Parker. Let’s talk about what you know first, and then we’ll worry about your phone later, okay?”

Peter stopped all at once, drawing a long, shaky sigh. They were right. He had to calm down. He turned around, facing the couple, only to see them staring at what was once their living room. Confused, he followed their line of vision only to see the chaotic result of his trance earlier.

Every single cabinet door was open, with the stuff inside disorganized. The center table, its centerpiece, and the books Charlene kept under it were also not spared. And the couch… well… the pillows were out of their pillowcases, which were now on the floor along with the cushions. To keep things short, the room was not looking good.

“Shit–sorry,” he apologized, feeling embarrassed. How could he let himself act like that?

“We’ll fix it later,” Charlene reassured him. Peter looked at her like she had grown a second head. “Are you sure?” he asked.

“Yeah,” she smiled, a hint of sadness in her voice that did not go unnoticed by her husband. Carlos knew damn well why Charlene was so kind and understanding to Peter, and it made him feel a little sad for his wife. “So, what do you know?” she asked Peter.

“Y/N works at a marketing company, and she once mentioned her HR manager was named ‘Mitch.’ If I’m correct, Mitch is Mitchell Gargan, who just happens to work at Greta Marketing Co.”

“That makes sense. But again, he’s innocent until proven guilty. We need proof that it’s really him. Besides, there’s also his twin… Mac Gargan. MG could be him,” Carlos added.

“Where’s Mitch now?” Charlene asked.

“I don’t know,” Peter’s shoulders slumped. He was beginning to think that maybe he wasn’t much help to them. He desperately wanted to help more, but even his knowledge was limited. And because the case was extremely personal to him, he wasn’t exactly the best person to lead the team. He was left with one last option now: to let Charlene and Carlos lead the entire thing.

“Then let’s start with who we know. Mac Gargan. You said he was hired by Jonah Jameson, right?” Carlos asked.

He nodded. “A private investigator hired to inspect me. But I have no idea where he is now.”

“That may be true,” Charlene started to think of another way, “but we know where Jameson is.”

“There we go. A starting point,” Carlos agreed. “Let’s start planning.”

DAYS LATER.

“I still have no idea how we got past the guards so fast,” Carlos mumbled. The three were walking down the hallways inside the Daily Bugle building.

“We’re in New York. People don’t really care about you as long as you look decent. Plus, the fake IDs helped a lot, too,” Charlene retorted. The married pair wore security guard outfits, their fake IDs stapled on the chest pockets. 

“Remember the plan,” Peter reminded them. He was wearing his usual outfit with glasses and his camera. He didn’t need to wear a disguise. He had worked here before as a photographer, and some people still recognized him enough to let him in. He brought a fake ID, too—an edited and updated one to make it seem that the company decided to hire him again.

The plan was simple. Carlos would look out from the first floor, round the halls, and check the people who got in and out from the entrance. They had memorized Mac’s face before leaving the apartment, and Carlos was in charge of checking if that particular face entered or left the building. Charlene would accompany Peter to the 7th floor, but she would stay outside Jameson’s office, looking out for whoever or whatever hindered their plan. Lastly, Peter would enter Jameson’s office, ask him where Mac Gargan was, and leave once it was answered. He hoped there would not be a need for interrogation or threats but only a simple answer to their simple question.

However, Peter and the word ‘simple’ never had a good relationship. Jameson did not care that Peter was in the room. In fact, he mindlessly believed Peter’s story and didn’t even get suspicious that the company decided to hire him back. But as soon as Peter asked the question, Jameson was quick to reach towards the telephone and call security, only for Peter to grab it first and cut the wires with the scissors he found atop his desk.

“Do you know where Mac Gargan is?” he repeated.

Silence.

Jameson suddenly stood up and decided to run out of his office, yelling for security to get Peter out of the building. Unfortunately for him, Charlene was waiting on the other side and caught him before he could even get past the door. She pushed the man back inside the room; this time, she stayed inside the room and decided to join Peter in handling him.

Once Jameson knew that he had no chance against the tough woman, he stopped resisting and faced Peter—only to see that it was now the Spider-Man in front of him. Unbeknownst to them, when Charlene was struggling to get Jameson back inside the room, Peter took the opportunity to put the Spider-Man suit on. If being Peter was not intimidating enough for him to answer, then he was sure that being Spider-Man would do just the job. He wasn’t scared that Jameson knew his identity now because the information he had on Jameson relating to Scorpion would threaten him enough not to speak about his real identity to the media.

“You’re Spider-Ma—” Jameson could not believe that the answer to the mystery he had been trying to solve for years was right in front of him. It made sense to him now. The reason Peter had so many interesting shots of Spider-Man was because they were one.

“Look, I’m not gonna repeat this again,” Peter started slowly, “where the fuck is Mac Gargan?”

Jameson was scrambling through his mind on ideas how to escape the man in front of him. It was evident that he was feeling uneasy. It seemed that the mere thought of Spider-Man knowing that he had something to do with Scorpion was intimidating him. 

“I have no idea who Mac Gargan is,” he tried to play dumb, but Peter had enough of his bullshit.

“C’mon, man,” he scoffed. “We all know that’s bullshit. Remember when you hired him to investigate me before?”

Silence.

“Alright. Let’s change the question, then. Where the fuck is Scorpion?” he was staring daggers at the man. If looks could kill, Jameson would already be buried 6 feet underground right at the moment.

“What do you want?” 

“For you to let us know where Scorpion is. It’s really that simple.”

“I don’t know,” he stepped backwards as soon as he saw Peter grabbing the scissors again.

“You don’t know?” Peter mocked him, walking towards him at a slow but threatening pace. “Really?”

Carlos, on the other hand, realized that he was not making progress just walking down the halls and looking at people’s faces. He decided to go against the plan and went straight to the room where they monitored the cameras in and out of the building. Thank God that he did though, because as soon as he entered the room, he saw a glimpse of his wife and Peter in his suit at Jameson’s room interrogating the man. He had to do something and act on this fast, but the problem was two guards were monitoring the cameras. Thankfully, one was sleeping, and the other was distracted by playing Candy Crush on his cell phone. It wasn’t hard for him to convince them to leave the room.

“Hey, man! Why don’t you all rest for a bit? I think I saw a couch there outside. I’ll go watch over these,” Carlos suggested happily.

“Are you sure? Wait—I haven’t seen you before,” one guard stopped in his tracks.

“Oh! I forgot to introduce myself,” he replied. “I’m new here, sorry–I just noticed you getting bored and your friend here sleeping and thought you might want some rest, you know? I’m Carl, by the way,” he smiled.

“Well, Carl,” the guard tapped his shoulder, “we’ll accept that offer. I’m Chip,” Chip nudged his friend to wake him up, “Dale, let’s go.”

Carlos smiled while the two left the room, muttering ‘thanks’ on their way out. As soon as they left, he wasted no time and manipulated the footage. This was all he could do for now, deleting and manipulating all footage of the three of them being suspicious. He prayed Peter and his wife would be done the moment Chip and Dale returned.

Jameson still managed to stand his ground despite being terrified of him, but Peter knew he would soon break. “So?” he taunted, playing with the scissors by spinning them around his finger.

They soon played a staring game that neither wanted to lose. That was until Peter threw the scissors just inches above his head, and Jameson finally broke. “Wa-wait! Fine! Mac is in my basement. He’s staying at my house. I-in the b-basement,” Jameson had his two hands up in surrender.

“I have a feeling that’s not the only thing you know,” Peter pushed. Jameson stared at him—almost begging. But Peter had no intentions of backing down. He flicked his hands, webbing the door handle and the windows shut. If it wasn’t clear to Jonah before that there won’t be any chance of escaping the circumstance, it was clear as air to him now. “Okay! Okay! I’ll tell you everything when w-we get t-there,” he bargained. 

“Lead the way,” said Charlene as she cleaned up the webs Peter had so graciously put on almost everything. Meanwhile, Peter took the opportunity to put away the suit and dress as an employee yet again. On the other hand, Carlos was still monitoring the cameras, observing their every move. As soon as he saw the three exit the building, he made sure to corrupt the footage before leaving and following the other three.

Jameson was a fucking maniac. He had to be—because no sane person would keep a lab underneath their house. Oh, and to make things even worse, a large glass cylinder cell stood in the middle—and alas, Scorpion was inside it. 

Peter observed the passed-out entity before immediately turning to Jameson. “Explain. Now,” he demanded.

“MacDonald Gargan,” Jameson pointed at Scorpion. “When he failed to find out how you obtained those Spider-Man pictures years ago, I decided to hire him as a subject of an experiment. I wasn’t alone. With the help of Dr. Farley Stillwell, the goal was to give him the beneficial traits of a certain animal—a scorpion. We were aiming to create someone powerful enough to be capable of defeating Spider-Man. Defeating you.

“But the mutagenic treatment was too much for him; it began to affect his mind. The entire process was barely tested. We should’ve known it would happen.”

“How long ago was this experiment?” asked Charlene.

“3 years ago. Right after he failed to do the initial job we hired him for.”

“If this was years ago, why is he only attacking now?”

“Stillwell and I spent the majority of time developing the mutagenic treatment. We had no means to test it, so we just went with our guts to continue developing and developing until we thought it was perfectly done. And then, not until weeks ago, I remembered this guy right here,” he glanced at Mac. “I remembered this man and how eager he was to prove himself to anyone. So I decided to call him up and hire him for a new job. And because he had failed me before, he was so eager to prove himself to me and accepted instantly.

“For a while, everything was going well. We believed it worked. And it did work—only it made him insane. Stillwell and I tried to contain him, but we failed. The next thing we knew, he was on the news attacking a neighborhood. So Stillwell and I created this cell—one that’s strong enough to contain him—and with the help of some trusted friends, we were able to lure him inside. But we lost people in the process.”

“You mentioned ‘trusted friends’, who are they?” Carlos asked. Jameson was skeptical to answer. These ‘trusted friends’ were highly important and powerful people who could kill him at any moment if he decided to reveal their identity. But at the same time, he knew that these three people were no different. They may not come in many numbers, but he knew that Spider-Man and his two friends could also kill him. He had no other choice.

He sighed exasperatedly. “They’re really powerful people. Some people are from the government, the military, the media, the news, and the police. It’s a secret group that wants to kill Spider-Man. They cover up the mess that Stillwell and I make.”

Carlos and Charlene eyed each other. If what Jameson said was true, some of their colleagues at the station were a part of this secret group too.

“You haven’t talked about his suit. Can we remove it? Maybe make him weaker by removing it?” Peter asked this time.

“No,” Jameson shook his head. “He’s stuck in the suit. You can’t remove it, he can’t remove it, we can’t remove it. Mac and his suit are permanently bonded.”

“How long has he been contained here?”

“He’s been in here since his first attack.”

Now, everyone was confused.

“If he's been here since the first attack, and the first attack was back in the neighborhood, then who did I fight on that street?” asked Peter.

“Why can’t the city cameras see him? He always disappears,” asked Carlos.

“What happened to Dr. Stillwell? Where is he now?” asked Charlene.

“Dead,” a hoarse voice spoke from the cell. In an instant, Carlos and Charlene’s guns were raised and pointed at him. “Stillwell is dead. I killed him when they contained me here,” Mac smirked.

Peter, being the one who fought Scorpion on that street, was the only one in the room who realized that his voice was different from the Scorpion he had fought before.

Mitch was starting to make you uncomfortable. 

When you started your day and decided it was time to visit the Greta Marketing Co. building in the country, he started to ramble and admitted that work would not begin until next week.

You were not aware of that.

He then went on to say that the reason he had you leave New York a week early was to get you used to the country and the new environment. He even showed you a list of activities to do for a week with him before starting work next week.

That alone was already suspicious. But you still gave him a chance. Maybe he meant well, you thought.

Only he didn’t. Little did you know, everything would turn even worse. And spending a couple of days more with him would prove it.

Mitch has changed. He was not the same person you knew. Or maybe you never knew him all along.

It started with weird glances. 

The plan was to take a week-long tour to see the famous tourist spots in the country. You must admit, it was pretty exciting. There was so much fun in discovering cultures and getting enlightened by their traditions. Mitch glanced at you every once in a while, but you let it go. You thought that he was just checking up on you.

Which turned to staring.

He was definitely not just checking up on you. You realized that when you noticed it took him at least 4 minutes to get his eyes away from you. You knew because you felt it every time. He was also eyeing you up and down and checking you out.

Which then turned to forcing you into holding hands with him.

He would try to hold your hand and intertwine his fingers with yours. Of course, every time, you would reject it, but that never stopped him as he still kept on trying it every moment you two were in a room—which was every fucking moment because he simply would not leave you alone.

And now, stalking.

You were able to convince him to take the third day off by yourself. At first, he was hesitant to let you wander off alone, but you eventually got him to let you go. You went to the Greta Marketing building once and for all, to ask some questions about your new position and inquire about the adjustments you need to make to get settled. However, along the way, you started to sense that someone was following you. When you turned around, you were able to get a glimpse of someone with a white shirt and khaki pants behind a utility pole texting or pretending to text someone on their phone. You decided to let it go for a while; you didn’t want to immediately point fingers. What if that man was just a normal guy going to work and stopping to rest on a pole to text his family or friend? Besides, he was gone after you crossed a road.

You were fucking pissed when you left the building—you couldn’t believe what you just discovered. Suddenly, you found Mitch running towards you as soon as you stepped out of the exit. He was breathing heavily but you couldn’t care less. “What happened to you?” you asked.

“I just ran,” he answered. 

“Why?” 

“I-uh–well-uh, it’s not important,” he shook his head. “Did you go in there? Who did you speak to? What did they tell you?”

You debated on whether to tell him the truth or lie. You decided to lie, just as he did to you. 

He lied. He fucking lied. That’s why you were pissed the moment you left the building. There was a branch of Greta Marketing in Japan—that part was true—but they did not need you. You were made aware of that the moment you went there and asked for your position.

“I just spoke with the receptionist. The person I was hoping to talk to wasn’t there, so I didn’t get to know anything,” you lied. Mitch let out a breath of relief he tried to hide with a yawn. He thought you didn’t notice, but you certainly did.

And that wasn’t the only thing you noticed. You observed his outfit. He was wearing a white shirt with khaki pants.

“Let’s go back to our apartment?” he offered his hand.

You were disgusted, but you hid it with a smile. You had a plan. “Sure.”

You immediately went straight to the bathroom after entering your apartment. He joked about how you were so desperate for a pee, and you faked a laugh, saying it was because you were holding it in for quite some time. 

You didn’t pee. What you actually did was open your phone and try to book the soonest flight back to New York. You were hoping there was a flight today so you could leave as early as possible, but luck was unfortunately not on your side as you discovered that the last flight from New York to Japan and vice versa was actually yesterday. So you instead booked the next one. It was tomorrow. You flushed the toilet before leaving the bathroom.

And the waiting game began—only one more day.

“Do you know someone named Mitchell Gargan?” asked Peter.

Mac Gargan chuckled hoarsely. “My twin brother.”

“What do you know about him?”

“Everything.”

“Go ahead then,” Peter dared.

“Mitch and I used to be inseparable. We played the same games as children, watched the same cartoons, went to the same school and stuff, even fell in love with the same girl once—you know, the usual twin things. We were partners in crime. We protected each other, we cared for each other, and we lifted each other up. But everything changed when our mother died, and we were left to live with our father. We were still in school at that time, Mitch wanted to be a scientist and I wanted to be a detective or an investigator.

“We were always at the top of the class but he has always been the smarter one. That’s why he always excelled in his subjects. He was forced to stop it, though, because our father wasn’t very into the idea of science. He didn’t believe in any of the science shit and did not want to support Mitch in his dream of becoming a scientist, so he didn’t have any choice but to pursue a business-related course. He started changing after that. He rarely talked to me and started being reclusive. He always preferred to be alone and would only get out of his bedroom when it was time to eat. Our father didn’t care. He never fucking cared about our well-being. 

“When our father died, Mitch started talking to me again, but he was not the same. I started my investigation and discovered that he had a made-up lab in a secluded area where he was mixing chemicals and experimenting on animals. It turned out that he still continued living his scientist dreams despite not getting education for it. I let it slide. I thought that he was just doing that to compensate for the dream he would never accomplish. 

“Everything got worse when we graduated. He was jealous and angry because I graduated my dream course and he didn’t. To be fair, it was understandable that he felt that way. His way of coping was downing countless bottles of alcohol. One time when he had been drinking too much, he let it slip that he fantasized about stalking women, trapping them, and doing things to them—the worst part was he imagined that they would eventually end up dead. From the way he spoke about assault and murder in such a calm way, I didn’t recognize my twin brother anymore.

“I planned on informing the authorities about his fantasy, but I had no proof that he said it, and he then threatened me when he found out that I knew. He had a knife in my throat, threatening me that if I ever told someone he would do much more than that. That was the moment when I outsmarted him. You see, I learned my lesson that night when he was drunk, so I always wore a hidden camera just to catch him the next time we would talk. And guess what? I recorded the entire conversation of him threatening me. He was sentenced to prison, and we never talked again.”

“Is he still in jail?” Peter asked. He thought that if this Mitch was still in prison, maybe the Mitch that was with you in Japan wasn’t the same as Mitchell Gargan. It was a possibility that even Peter himself found it hard to believe in.

“No,” Mac coldly admitted.

“And how are you sure?” Carlos interrogated.

“Because the son of a bitch once paid me a visit. I thought he was going to break me out of here but no. He wanted something else.”

Peter held his hand up, causing everyone in the room to look at him. By this moment, Peter immediately knew the next words Mac would say, so he needed to act fast. He pulled Charlene and Carlos into a corner, instructing them to leave the city and get to you as soon as possible. Once the couple had left, Peter turned back to the creature behind the glass.

“What did he want?” he asked, although he already knew the answer.

“The formula.”

Mac then glanced at Jameson with a knowing look. 

“He got it. And with his science background shit, I assume he was able to modify it to make him turn from human to Scorpion and from Scorpion to being human again.”

You should’ve known to run the moment he planned this entire trip and kept it a secret from you.

The moment you stepped out of the bathroom, you knew you weren’t safe anymore. Your choices were limited, and time was running out fast.

Only a day had passed, but it was excruciatingly long because Mitch started to get touchy. He was adamant about invading your privacy to the point that it was hard to pack your bags without him noticing. And every time you asked for space, he would turn the tables figuratively and make it seem that you were being impolite and ungrateful for his efforts.

So now here you were, at your shared apartment, having that same argument over again. Only this time he actually apologized. Like sincerely apologized.

Or so you thought. 

He stepped towards you, asking for a hug, which you did not want to give him at first, but he proposed a deal that if you gave him one last hug, he would be gone in your life forever. And for some reason, you agreed to do it.

Your mind has once again failed to stop your ever-kind heart as you proved to be a fool of his calculated offenses.

He was hugging you too tight, you couldn’t even breathe anymore. While his left arm was suffocating you in a hug, his other hand started to roam your body before it settled on your clothed ass and squeezed it. You froze entirely while his hand continued to feel your body until it stopped at your crotch, and he started rubbing it with his fingers.

You managed to push him away, and with all your might, you grabbed your bag under your bed and headed towards the door. You successfully passed the bedroom door, hoping to get to the main entrance as fast as possible, but you were stopped when a hand threw your whole body away from the door. You had never seen Mitch this angry and powerful before. 

Mitch was not the type of person who worked out. He was lean, tall, and he wore glasses. His hair was always a ruffled mess, and he talked in such a slow and soft cadence.

You should’ve been wiser not to let yourself be deceived by appearances.

You stood up with shaking knees and a trembling body, hoping to get through the door, but you were interrupted once more when he caught your throat with his hand. You soon found yourself getting lifted up by the throat every passing second. Your eyes were closed as you tried kicking him and scratching his arm, but he was unbelievably strong. You opened your eyes to look at what was once your friend, but you were met with the sight of him turning into the monster you saw on television.

You gathered every last bit of strength you had as you screamed as loud as you could, forcing him to release his hold of you and cover his ears. 

And you did the only thing you’ve known to do for years—whether from your problems, from threats, or from love…

You ran.

TASM!PETER PARKER TAGLIST:  @mymilkducts @i-am-woman-strong @lauraneedstochill @jeanettexkillian @ms-mandalore @enaraism @alessandralol @sad-darksoul @sincericida @mentallystablepotato @mich0731 @writingstoraes @logolepsic-insomniac @k0miiki @dreamsarecloserwithyou @jumilzzz @primroseparker @preciousbabypeter @myheartonthemove @rebecca-johnson-28 @silkholland @ellievickstar @okkulta @geekygamerchick @starqwerty20​ @the-quiet-observer

THANKS FOR PATIENTLY WAITING FOR THIS PART! SEE YOU SOON FOR THE FINALE :)

[skayafair]

John and Agency

I'm gonna be feral about Malevolent about John, of course, who am I kidding here for some time (we're SO BACK, yaaaay a hyperfixation!) so buckle up.

Another recurring big theme I've noticed that got some developement after part 40 is John's agency.

The thing he has to struggle with for the most part of the story is that he's utterly powerless. A former god reduced to a mere voice inside a man's head an the sight of his eyes. An arm and a foot give some leverage but it's still less than a human even, let alone any supernatural being. And while John is ok with being human - he wants to, after all, - he's not even remotely okay with being less than.

He rarely talks about it, but it shows so painfully in the mines, when he managed to cut the monster's tentacle from Arthur's head. Arthur wasn't doing anything, he was too overwhelmed, and it was completely John's doing. He managed not only do something influential on his own accord, but also be helfpul and basically save them both. Just how happy he sounded about it sells everything one needs to know about how he feels most the time. And Arthur dares to call him a parasite and a passenger who just sits back and does nothing, ugh. Not blaming Arthur here, he was in another Situation, but. I'm JUDGING anyway >:( And later, when he stitched Arthur up - John was so frustrated at how little he was capable of and how much effort it took to do this.

Another time his frustration shows is when he's talking to Kayne.

John HATES Kayne with passion and doesn't hide this. That's a remarkable thing, actually, considering that he's also a very cautious person and is afraid of Kayne, feeling just how powerful this being is. John doesn't deal with fear well. Whenever he encounters something frightening, his first response is a freeze one. And Kayne scares the shit out of him. Yet, every time John refers to him, it's with very audible animosity. John knows full well how dangerous Kayne is and doesn't give a damn.

If he could, he'd have obliterated Kayne. But that's the thing - he's p o w e r l e s s. So many times John tried to threaten him in anger with "I'll- I'll- !" - only to fall silent, because, well, he can't do anything. Couldn't have, really, even if he still had full King's power. But this stark contrast with Kayne emphasises just how little John is actually capable of in his current state.

And in part 40 it was reinforced again. Only this time after his little developement.

I LOVE this new ability to manifest. YAY FINALLY! I had a Hellsalem's Lot a.k.a. Kekkai Sensen AU when he could do exactly that, so it made me laugh to actually see this in canon.

It should help. Now John can do more. We don't know how much more - is his manifestation only a vision or he can influence the material world as well? Can he manipulate people's minds the way Yellow could? (John would hate this.) In any case, this is still... something. Something real, something of his own. A way to show the word he actually exists, and not only as a voice inside Arthur's mind. All John's issues with this considered, it a great thing.

So, now he technically isn't powerless anymore. He has power. It's better, right? Right?

Well there's a catch.

John won't ever be happy to be more present if it's on Arthur's expense, and that's exactly the cost his new abilities come with.

So while technically he has more power now, it's a "last resort" kind of thing. He can't use it much because killing Arthur is not even in the realm of the things he wants.

Still... I think it should have been euphoric - even if only for a short moment - to gain it. To feel more capable. To have more power. It's not an insane amount, after all, and in John's case is a perfectly reasonable desire - more like a need.

But how painful and devastating it should have been to be reminded by Kayne that he's actually still just as powerless as he was before? That this new ability doesn't change much? Kayne knows where to hit and does it every time.

Like, we know John is more capable now, and it's really great! But that moment when he had to shut up because there was nothing to say to Kayne's "you what?" has hit me like a truck :''') That was painful, like a "know your place", and John couldn't bite back. He was already drowning in guilt and this just made things worse. I don't want to imagine how he's feeling after all this :''')

[zahri-melitor]

20 Questions for Fic Writers Tag Game

Thank you @androxys for the tag!

1. how many works do you have on AO3?

I have 46 works on AO3 at the moment. There's a handful more spread over various other places, but at this point I've uploaded all of my back catalogue that I want to have archived there.

2. what's your total AO3 word count?

113,119 words. Which is pretty respectable given I tend not to write long pieces.

3. what fandoms do you write for?

Whatever is currently causing my brain to itch! At the moment that's most DC Comics, but I do have a few Yuri!!! on Ice drafts sitting around that I may or may not finish, at least one Girl Genius piece I could tidy up, a bunch of ATLA snippets, and I can frequently be provoked into writing Vorkosigan Saga if people pose the right scenarios.

4. what are your top 5 fics by kudos?

College Daze: a Yuri!!! on Ice SkyGem Retirement Challenge piece, where I don't bother with the reveal. It's three separate scenarios where people meet Yuuri as a college student in the US and don't know who he is. I'm entirely unsurprised it remains my most popular - it was a very popular challenge in the fandom and it's a lot more accessible and pandering to fandom tastes than some other stuff I write.

Find Out What It Means To Me: an immediate sequel to Yuri!!! on Ice, set around Japanese Nationals. Yuuri doubts himself but succeeds and finds how much love and support he has from the whole Japanese skating community. I love this piece because it's very much a balance of things I enjoy (fiddly technical details) and characterisation.

the picture frames have changed and so has your name: DC Comics. What if Dick no longer loved Tim? What if Dick got Morrison Disease? Ahahaha I think you all know this one. It's my big DC piece so far, so I'm not surprised it's up here. It also contains female characters that casual DC fans have never heard of in major roles, so I'm also not surprised it doesn't get the attention fanon-based material does in this fandom.

Little Chick in a Nest: Yuri!!! on Ice. Victor introduces Yuuri to Lilia, without realising that Minako was also a famous prima ballerina. The YOI fandom loves Minako's Benois, but it's a tiny set dressing detail; Victor probably overlooked it and nobody ever talks about Minako as a famous dancer. I had a lot of fun setting up Victor to put his foot in it.

there's an endless road to rediscover: DC Comics. Dick and Tim playfight in the Cave and Damian misreads the situation. I think this one is popular just because of the interplay between the characters, and it was my first attempt at trying to get my head around Damian as a character.

5. do you respond to comments?

Pretty much always. It's the time I spent on LJ coming through, because comments are for talking, and if you talk to me I'll talk back. If you're waiting on a response it's usually because I'm formulating some massive post. Also I tend to meet people where they pitch their comment - the longer and more detailed it is the more detail and discussion you'll get back.

6. what is the fic you wrote with the angstiest ending?

I'll hold your memory in my hands tonight. It's pretty hard to beat this one for angst in terms of the subject matter. (I still giggle to myself over the pun in this title because it's dreadful) Anyway CTE is something I have a lot of feelings about and they recently diagnosed two women as having suffered CTE due to domestic violence, which is horrific and really shows the long term problems and dangers from family violence.

Then there's A Duty to Your Family and Soft, Small, Silent, Still, one of which contains attempted infanticide and the other which contains canonical accidental toddler death, so you know. When I give heads up warnings I tend to mean them.

7. what's the fic you wrote with the happiest ending?

...Happiest? hmmmm. I have a bunch of fluff, but probably Find Out What It Means To Me for YOI, Herds of Little Vorkosigans for Vorkosigan Saga, and These Small Hours for DC Comics?

Yes okay that's two baby fics and the one where everyone tells Yuuri he's the best.

8. do you get hate on fics?

Almost none that I'm aware of; there's occasionally a bit of pedantry on the Vorkosigan Saga fics but that's from known notorious figures in the fandom and I largely ignore them. If anyone's busy having a hate on for my fics they're kind enough to do it the correct way, which is privately where I can't see it.

9. do you write smut? If so, what kind?

Nope. The closest I get is playing around with innuendo at times in my writing. I'd really rather insinuate and then fade to black, it's heaps less awkward to write.

10. do you write crossovers?

I was going to play good old 'what do you mean by crossover' as far as DC Comics goes, but the answer is a frank yes, because I've got a West Wing & Grease crossover drabble I'm Not Pregnant which is leveraging Stockard Channing appearing in both.

11. have you ever had a fic stolen?

Not that I've ever noticed, and I honestly suspect it's unlikely to happen. I would need to write things that get more attention than I currently get, designed to hit fandom popular tropes.

12. Have you ever had a fic translated?

No. None of my Vorkosigan Saga stuff is popular enough to get a Russian translation and it doesn't fit the preferred tropes of that end of fandom anyway.

13. Have you ever co-written a fic before?

Nothing I've ever specifically published as fic. I do have some commentfic over the years where there's been back and forth between me and someone else, but alas commentfic is a dying breed in fandom these days.

(and it's a LOT more informal than proper cowriting)

14. What's your all-time favorite ship?

All time favourite? Oh gosh. Probably Wally/Norah from Billabong, which hits just so many of my favourite notes for a relationship. Nothing for me will ever beat Wally throwing himself at Norah's mercy to confess that he would rather have died than Jim as he's 'nobody's dog', and Norah claiming him as her own.

I've loved those two since I was a little kid, and you know how it is with ships you acquire in that formative period.

15. What's a WIP you want to finish but doubt you will?

I remain hopeful about a lot of my stash but I just can't see myself finishing a piece I have about Steph's baby and Helena Kyle. It's a fun scenario, but I cannot work out the villain who came after them both, and so it remains a setting without a plot.

16. What are your writing strengths?

From what people have said to me: I'm pretty good at paring down language and telling a lot of story in small scenes and understatement. There's a bunch of compliments I've had over the structure of TES 34/64 that I treasure, and everyone lost their minds over "the shoes had eventually come in handy. For the funerals." in a gap where a parent should be.

18. Thoughts on writing dialogue in another language in fic?

Oh, this is something I have strong feelings about. I don't like loan words being translated and multilingual fandoms often have a working level of loan words that is higher than background use: think for example the amount of French commonly used when discussing ballet. So I tend to think you should use languages at the level of comfort that the fandom has for them.

It often comes down to the fluency of the characters in the scene - I think dialogue in another language can be quite powerful if some of the characters understand it and others don't, because you can leverage that variation in understanding in your audience. However personally I'm more likely to note what languages are being used in dialogue tags than arrange for a translation.

I do try to localise for word choice to the setting of a fic but at this point I've been in fandom too long and and I'm too stubborn to localise spelling for my writing.

Which means if I were to write Wellington Paranormal fic I would probably be using my extremely scanty Māori mixed through the dialogue; I wouldn't bother translating kia ora or whānau for instance. But on the other hand I'm not going to write in another language unless it makes sense for the story to do so.

19. First fandom you wrote for?

That I published? Harry Potter. Which I'm not ashamed of or upset over, really. It was a good fandom to learn how fandom worked in, and it certainly inoculated me against a lot of nonsense behaviour later on. I still have friends I made back then, I learned a lot about how Internet communities function and behave, and it's sort of weird to have things I was on the fringe of and have contemporary memories of occurring having become Fandom Lore.

20. Favourite fic you've written?

Oh damn. Hmmm. Look, probably the picture frames have changed and so has your name, because I'm super proud of myself for finishing it, but in terms of underrated pieces I have to to point to the Mother's Day series, particularly Tea for Two, because DC mothers deserve so much more love.

I don't have anyone specific to tag so let's make it an open offer.

[typewriter83]

Hi! I've been following your work for some time now, and I think you're such a prolifically skilled writer. I prefer the canon dynamic between Joel and Ellie, and the fact that their relationship has father-daughter themes but isnt purely that, yet also isn't romantic. However, I will dabble in some stories about Joellie and I do find that concept interesting. Just out of curiosity, I was wondering what your thoughts are on one of the OG fics, Flying to Wyoming? I noticed you mentioned it in a previous post listing fics. I know that while it's well-written, it's also considered a rather controversial (and at times, extreme) fic, and for good reason. I'm interested in seeing what other people think.

Oh, hello! First of all, sweet new cub, you’re too kind - I’m so touched that you enjoy my stories. Like sincerely touched. Thank you.

I came into the the TLOU fandom from the show, looking for Joel&Ellie stories, and had no interest in the romantic ship - shh, don’t tell the cubs - but it was fics that drew my attention and curiosity and eventually the brain rot sent in. I’m a fan of the canon dynamics too - minus Ellie’s treatment of Joel in Part 2, but that’s a topic for another day.

But yes, let’s talk about Flying to Wyoming because on the surface, it’s the quintessential Joellie story - discussion below the cut - it’s LONG, so buckle up.

FtW is one of those stories that I should have let lie, should have let it be a one and done, enjoyed it and never gone back. I read the entire 600k word behemoth in less than a week, which means I was speed-reading, skimming and not in great depth and detail. But at the end, those last paragraphs of the final installment, I was crying, like tears flowing down my cheeks and I wandered my house like I’d lost real people in my life. (Am dramatic, didn’t y’all know?)

The basic dynamics of the story are there - a sweeping epic, cross-country survival adventure where a teenaged orphan girl falls in love with her older male protector, one of the first people that’s ever protected her, ever put her first. Much like the canon story, Ellie starts off terrified of Joel and what he might be capable of, and Joel treats Ellie like cargo because he doesn’t want to get close to her and fail yet another that comes into his life. And, honestly, this story could have been a platonic story, 100% it would have worked - even with undertones of a teenager crushing on an older man, it would have worked. But, because of the twist the writer takes, we have a whole different angle that’s being built up to - trust me, guilt-ridden Joel is my bread and butter and there’s a lot of guilt in his inner dialogue. Ellie’s a very curious, horny teenager - which is pretty much on target for the character. I’ve written both these angles, myself, and so have others.

So, what’s my problem with it? It’s a lot. The change in dynamics after the FtW2 - it’s been awhile since I’ve read it, so if I mess up the timeline, that’s on me - Ellie is still 14 when they set out for SLC and the explicit sexual activities ramp up pretty quickly especially at the bed and breakfast. I’m judging here - okay, maybe a little, and I have no place to judge - but that’s a lot for a young teenage girl. My problem with it is simply a matter of opinion - Ellie was so young. Am I a prude? Was I sheltered? Maybe - or maybe it just wasn’t my cup of tea for reading material.

The writer is talented, his depictions of a broken world are brilliantly detailed. His depictions of how states would fight states and the scars left in the earth after battles that took place long before Ellie was born are gorgeously detailed. His descriptions of abandoned and desolate towns along the highways are incredible. Some of my favorite scenes come from their stops along the way, but namely the town at the edge of the Mississippi where they stop for bike repairs - it’s a real bonding moment for Joel & Ellie and the town’s description is vividly painted.

Those are my positive takeaways from the story - the writer draws you in with his depictions of the broken world and it’s part of the draw to the TLOU universe for me as well. The whole idea of two humans walking - or on the back of a bike - across a broken country, it’s just so compelling.

Back to the Joellie aspect of the saga.

It’s made very clear in the final story - which by the way is the best title: The Home at the End of the Road is just a perfect title to describe not only their home once they settle in Jackson, but Jackson itself is their home at the end of their long journey. I could weep - anyway, by the final story, it’s made clear that Ellie is considered an adult by end-of-the-world standards when she turns 16, and Joel is finally ready (at peace?) to give himself completely to her. I didn’t particularly care for the scene itself - it’s not how I would have written it, it’s not what I was looking for or expecting, but we’re not yucking on anyone’s yum here, it just wasn’t it for me.

The story jumps ahead by a good decade and immediately takes a sad, different kind of dark turn - we know Joel is mortal (for some of us, he’s not, but here he is) and the writer spends the last chapter showing that they’ve started a family but Joel’s mortality is this dark cloud over the home at the end of the road.

What I’m about to say next is entirely my opinion - I never had a chance to speak to the writer, he was long gone from ao3 by the time I read this story - this is my opinion. The idea of the war between FEDRA and surrounding communities felt like it was taken straight out of The Walking Dead - I don’t mean that in a bad way, just that it felt out of place for the universe. TWD and TLOU take place in different times beyond the start of their respective outbreaks - TWD is about 15ish years after the outbreak when the show ends and FtW is about 30-35 years after - that’s a big difference. I don’t think there are a lot of big communities out there in the TLOU universe - not like what was depicted in FtW, and an all out war against FEDRA. Again this is just my opinion.

When I set out to write Every Night Has Its Dawn, I wanted the epilogue to be an homage and draw inspiration from the final chapter of Home at the End of the Road. I wanted to show that living at the end of the world could be possible for Joel and Ellie and the family they have together. I was so devastated by FtW ending with not only Ellie losing Joel and one of her children, but then she loses her own life. It was too heartbreaking, and I had another vision.

That’s a lot of fucking rambling to get to the point. The story itself is a good story - the details and the way the Joel/Ellie relationship were written were not my cup of tea and I can see why you say that it’s an extreme example of the forbidden ship. It is. It’s a lot - there’s a lot of graphic descriptions of underage sexual activity, and it’s depraved, a lot of it. Does that make it bad? No, it makes it someone else’s enjoyment. It gives us writers inspiration though - there’s a lot he writes that I strive to write, but there’s a lot that I would change, and maybe did a little to fit into my universe.

Anyway, that’s my long winded take. If you stick around this long, y’all deserve a medal. Drop a line if you wanna add something to this. I would love to discuss more.

🫶🏻

[bylertruther]

That comment was so true, I was just thinking the same way. Old bylers were more open to criticizing the show's bad aspects and writing choices instead od trying to bend the whole thing to come up with excuses and explanations. Nowadays when you criticize a writing choice or something done by the Duffers you automatically get accused as if you've just committed a crime because how dare you think the Duffers aren't perfect genius writers that put everything intentionally without any mistake.

yeah! nowadays, in this corner, criticism is seen as a bad thing that you would never do to something you enjoy, and it's like... huh? it's okay to not enjoy something 100%. the duffers and co are not infallible and people don't have to like every decision they've ever made. that shouldn't even be something that someone on the internet has to say—existing as a human being in the world should've taught everyone that back when they were a baby.

even beyond that, as others have mentioned in other conversations, you can understand someone else's viewpoint just fine and still not feel as though there's enough relevant evidence to back it up, and feel hesitant because of how the duffers have consistently handled other plots.

like, personally... i struggle to be one of those #believers, because of how present the show's racism is in my mind. also, season three and season four are right there, alongside the show's misogyny and classism, too. and don't forget the little inconsistencies and anachronisms either! there's A Lot that i don't like and that i feel could've been corrected or reworked more effectively had they had a more diverse writing room or consulted others during the writing process. i like the general direction of the show, but there are a lot of details or ways they went about it where i'm like ://// man..

and.... controversial perhaps... but i feel that behavior is especially rampant in the byIer fandom and it manifests as the fanon that we can't seem to shake off.

mike does pay acute attention to will in some ways, but he's not the obvious lovesick, clingy, forever doting, golden retriever bf that people make him out to be [shout out to s2 mike tho he was built different 💔]. that fanon!mike is fans overcompensating for canon mike's behavior and presentation, which honestly has not been that fucking great as of late, purposely because he can't balance having both will and el in his life, among other mike-specific reasons, and because the duffers changed the way they wrote him post-s2. he does care about and love will, but not like many fans suggest, at least not yet.

but if you say that around here, you're seen as a freak weirdo mike hater talking about some ooc mike even though the show is right there and i could point to the 9384038049 times that mike forgot about will, brushed him off, was mean to him, or explicitly chose someone else over him. purposely! of his own volition!

and it also shows in how they babygirlified him, even though mike doesn't act like or look like that at all in the show, nor has he ever been described that way by anyone, whether in-universe or by the people that bring him to life.

And Don't Even Get Me Started On Will. Zon't.........

they had to recreate these new characters with mike and will's names and faces, because they didn't like what was on the screen. simple as that. but will they ever admit it? lmao.

as a fan of the show, and a fan of these characters and the stories they're representing, it's really weird to witness. there has been a distinct shift in the way in-fandom bylers talk about byler and the show and it started post-s2 when things started happening that they felt they had to correct. if they want to engage with the material in a way that best suits their tastes, fine. whatever. literally everyone does that. but to insist that the things that they say that go directly against canon or don't even exist within it .... are canon? and that everyone else using direct lines from the text are the ones projecting or twisting it or otherwise not appreciating the material? i have to laugh.

it's the same with other serious criticisms. if they can't create something to justify it, then they just brush you off as a hater because that's easier than acknowledging that maybe their precious bloated ensemble show isn't entirely perfect.

[blood-darkened-moon]

(1/2) What headcannons do you have if Alessa was evil? For instance, everything is the same except: in the first game she wasn’t burned for the ceremony, and was somehow extricated and went on to become one of the cult leaders (or the right-hand man), what would she be like if she was erratic and lethal?

Actually, I like that Alessa was not evil despite everything she had to endure. I find this more interesting than the stereotypical possessed/evil child or creepy little girl. Also, it doesn’t really matter here, I guess, but I want to mention that I only consider SH1-4 canon. I don’t care what Konami says, the other games are, for me, just fan-project spin-offs at best or horrendous bootleg trash at worst. Anyway, evil Alessa AU. I took some liberties with it regarding the source material, though.

Instead of being burned, Alessa made a deal with the incubus. The demon will stay with her. He grants and enhances her powers in return for human sacrifices.

The demon does not directly interfere with Alessa’s actions. He’s mostly there as an observer, but he talks to her in her mind. At least at first, the older Alessa gets, the more she changes. She becomes more and more radical and cruel. Whether these changes are of her own making or whether the demon is gaining more control over her, no one can say.

Dahlia was baffled when she saw Alessa walk out of the fire unharmed. She was the first who got a demonstration of Alessa’s new powers, but Alessa did not kill her yet. Half of Dahlia’s face was burned. She wore a mask in public to cover up the massive scar afterward.

Dahlia stayed the leader of the cult for several years. Alessa was her right-hand man, but many members started to worship her directly and saw her as a goddess.

In her early 20s, Alessa took over as the leader and sacrificed Dahlia in the flames, as she wanted to do with Alessa all those years ago. Claudia became Alessa’s right-hand man. She was her “sister”, always loyal and a believer. Who would be better suited for this position?

Many people in town joined the cult out of fear or because Alessa’s powers convinced them to become believers. She promises peace, health, and prosperity for her followers.

The cult can do whatever they want in Silent Hill and some neighboring towns, and their influence keeps expanding. The police won’t go against them. They even help to cover up the cult’s activities. Some police officers are also members, others are simply afraid of them.

Alessa’s first victims were some kids at school who used to bully her. She trapped them in the otherworld one by one and let monsters kill them.

She can drag people into the fogworld or otherworld at will if they fulfill certain requirements. The feeling of guilt or an overall negative mindset is helpful. Probably due to her connection with the demon, it’s even easier if they are sinners, have hurt people, or have committed crimes. If not it’s more difficult, but she can use a ritual for the same effect. In that case, Alessa needs a personal item or part of the person’s body. Some hair or a little blood will do. She can trap people there forever until they die.

Alessa herself can switch between dimensions as she pleases and take people with her in and out. The ritual with the personal items may be necessary beforehand.

The older Alessa gets, the more control she has over the fogworld and otherworld. At first, the areas covered by these dimensions were rather limited (about one building), but over the years, she learned to expand it so she could cover the entire town.

Everyone who opposes Alessa or the cult ends as a sacrifice. Most of them are burned alive or sometimes bleed out. Technically, it’s enough if Alessa kills these people or if she’s present, a specific method is not required. (She could just shoot them if she wanted). However, Alessa wanted a ritualistic approach for the show, and flame purifies all. Most of her victims are killed without witnesses, though.

The cult has multiple sacrificial sites in town. The most holy one is located in the otherworld and is only accessible with Alessa.

The people Alessa traps in the fog- or otherworld are usually sacrifices for the demon. She doesn’t have to kill them herself, she can just wait. Sooner or later, these people are killed by monsters, commit suicide, or die of dehydration or starvation (or they risk eating or drinking what they can find). Sometimes, even other people trapped there kill them.

Alessa enjoys it to see them suffer. She sometimes plays with them and promises them help or a way out just to lead them into their doom.

If these people are lucky and Alessa considers them worthy, they may have the chance of salvation, and Alessa offers that they can join the cult.

The area around Silent Hill became notorious for its disappearances, even though not even a quarter of the actual number is known publicly. The police usually claim these people went missing in the surrounding woods while hiking.

[2n2n]

the Sounds of Nightmares...

Well specifically I'm being baited by the stupid Sounds of Nightmares podcast, despite my own insistence that I don't care about aside material or really consider any new content commissioned by Bandai-Namco, and the scattered independent producers of all the various things under the property, necessarily relevant when analyzing the 2 games helmed by Tarsier Studios ...

Which-- I do stand by that ! Here is... an important... precursor, to talking about it.

I think who produces something is very important. It's not the franchise name which makes something enjoyable to you, it is what voice is creating it. If there were JSHK stories written by someone other than Iro-sensei, or if the property was sold off to another artist & writer, would you still be a fan of JSHK? This is how properties like... Warrior Cats (which is a book packaging deal comprised of at least 7 ghost writers), Star Wars, Marvel, work-- those characters, worlds, are not anybody's baby, but are loose concepts which people are paid to contribute to, to generate money as a franchise. It banks not on artistic integrity, but recognition of the property.

For example, I don't love everything that 'Adventure Time' is, or has become. It has passed through different directors, artists, writers, to the point that the original team who made it what I love, is not a part of something as derived as Distant Lands or Fiona & Cake. I also think somebody could like Fiona & Cake and not like OG Adventure Time. Because these are entirely different creations, with different vibes. I'm sure everybody actually has a relationship like this to SOME franchise! Liking early seasons of AT under Pendleton Ward, doesn't incline me towards liking how Adam Muto directs things, once he takes over. If my favorite board artists gradually leave, and are replaced, then I may not relate to the new voices writing episodes. I may not recognize what I loved in the original thing at all, in these new voices. OR sometimes, I CAN like a new voice... that's the roulette spun when things change hands many times.

I mean, people can like or dislike any Star Wars movie, as a mundane example. There is not 1 voice for all trilogies. Or extended universe novels. Or games. Or cartoons. Or Spinoffs. Famously.

By design, art created this way can't represent a singular vision, goal, or worldview... so as a result, these things tend to be haphazard, sloppy, inconsistent, roguely retconning or redefining aspects of canon as different writers or artists want to remake, reinterpret, or ignore set-ups proposed by others, in favor of their own. You'll have characters... often forgotten, brought back, killed multiple times, imbued with significance as quickly as they are written off. Some writer might introduce a concept which the next installment's writer hates. Individual teams or studios for different disciplines (one may commission a wholly different place to make an app game, a podcast, and a comic), may have hardly any communication with one another, and may only be working off of a loose lore bible or rubric. It depends on... the integrity of the franchise ... but almost by uhm, virtue of being a franchise, I'd say most don't... have.... integrity. Because it's often better to just throw more and more darts at a board and test what your audience likes .... artist integrity doesn't necessarily make something popular or speak to what the audience wants, after all. If anything I'd say being an artist with integrity makes one stubborn and liable to act regardless of what the audience wants ...

SO. all that out of the way....

Where all Little Nightmares bonus material is concerned, I take in each on their own terms, and don't necessarily absorb it all into my 'canon'. I mean, I feel LN2 entirely threw away what VLN did, by locking the 2 games in an enclosed loop.

I can't think "this aside comic EXPLAINS this thing from the games" when the games writers don't often acknowledge or engage with what those teams are doing.

BUT BY ENGAGING WITH THINGS ON THEIR OWN TERMS, I CAN ALSO BE LIKE... UGHH??? urhghgg... any random thing COULD beguile me. I mean, nothing is STOPPING ME from LIKING a new installment of Adventure Time, it's just that I DON'T like them, as fate has it.

I think the Sounds of Nightmares, is ,, HILARIOUSLY badly written, like from a quality or believability of voice standpoint. The dialogue is so cartoonishly bad. Feels a bit like a fanfic written by a 14 year old 😭 unfortunately it do be sounding like the exact kind of dialogue the writer of 1&2 has mocked & talked about swerving to avoid in his own work. Like the lack of subtlety... its so funny when LN1&2 are, entirely composed of subtlety.

but you know what I cannot resist, in my godforsaken bones ................................................... the notion of Mono & Six having been siblings in their previous existence. For The Love of God!!!! THIS AVVY BAIT!!!!!!!!!!!!! AAOURUUGHHH ... Mono as a little brother growing older, struggling with the idea of his big sister abandoning him, refusing to believe she ever would willfully do such a thing... falling down an oubliette of moral decay, torturing children & sending them into oblivion in his desperation to reach her. The concept that he may do all of that only to become trapped in a loop where he both doesn't fully recognize her, or himself, but is also continuously abandoned by her endlessly. But also Did Find Her, Did Reunite, Does Have Her. So maybe the kid torture was the right choice.

I LIKE THE IDEA!!!!!!!!!!!!!!!!!!!!!!!!!!!!! But it is mildly frustrating to engage with, because of the lack of... absolutes. I feel like the implications are intentionally opaque yet ubsubtle all at the same time (Six's theme softly plays as Otto shouts at recognition of her yellow raincoat.... he is perfecting tuning the frequencies of the nightmares... he comments on the eyes watching him.... a tan trenchcoat is seen in the seamstress area wherein bodies are made to tether children into this other realm... otto mentions the importance of donning many masks...). There is a plausible deniability to it, and I wholly believe creating Red Herrings tastelessly is expected of the property, given the entire bait-and-switch of VLN is you thinking that girl is Six, But No She's An Unrelated Raincoat Girl (why?) (it helps the franchise recognizability by there always being SOME sort of girl in the iconic raincoat.. how could you sell an app game without that visual cache?)

I think the threat of "is this Six? Wouldn't that be interesting...." is frustratingly imperative to maintain audience attention, while the open possibility of saying "naaah lol nvm" is important to 'save' the lore (particularly if the audience doesn't like or rejects an idea ... you can pretend anything was the intention all along retroactively). This is the madness of franchises... *rubs temples*...

so what do I have to say. I do think the writing is not good, but I think the concept is delicious. I would love for Mono to have created a device to communicate with the Nowhere (and it as a semi-reality semi-dreamspace IS original canon...), and I like that suffering is essential to reaching towards it. I would love the creation of this device to be the inception of the Signal Tower, I would like his only window into this world to be the thing that will entrap him, as if the two cannot exist apart. I would like Six as a long-lost older sister who escaped through her dreams, but perhaps anticipated her brother following behind her.

The vibes of Otto, are great. I love a guy muttering "my beloved..." about his sister, and pathetically whining about how she'd never leave him. I like how much "Sisi" sounds like "sissy". I love how he speaks always in possessives about her "my Sisi" while Noone also fsr validates this by saying "your Sisi". Yeah!!!! I like how absorbed his life is in this, like he's had no pleasures or joys outside of his sister, and is always yearning for her.

I would say it suits Mono's description of being "uncommonly single-minded. When he sets himself to a task, he rarely gives up before it's completed." He's a uniquely determined person, to a fault. The Thin Man erodes many in his terrible city, so corrosive is the humm of his Signal Tower. I would like all of the irradiated child remains found in the Pale City to be children he treated with his machine, who were not only lost to their nightmares, but trapped within the Signal's call.

Imagining Six & Mono's lives before winding up in this nightmare... I haven't had anything in mind; I like to engage in the world as it is now, on its own terms. I would imagine neither remember what existed before this, anyway. Suddenly being proposed "Mono was Six's obsessive little brother" is like being electrocuted. UGUGHHH... YEAH??????? FINE!!!!!!!!!!!!!!!!!! if YOU want to, SAY THAT.... !!!! to ME.... ! it's designed specifically to torment ME.... to test my integrity....

It is also kind of HILARIOUS!!!!! Ahhhhh imagine working tirelessly to reunite with your sister, only to have the demons that be give you the ironic fate of being unable to remember or recognize her in such terms, yet there is a draw, a pull, a sense to need to protect & keep her at all costs. And then what ! It would be amazing to fall in love with her, to find her beautiful. It would be amazing to fuck her brains out like that !!

For the mostpart I don't have... interest at all in Noone's, visions or what have you, it feels a little mind-numbingly episodic, but I could probably enjoy plenty of it fully visualized...? I don't really vibe the podcast medium as a tool for storytelling I am afraid; it feels simultaneously less than a book and also less than a visual medium. Not enough immersive prose or opportunity for shifts in perspectives a book could offer, limited duration, a kind of hokey amount of SFX and the need for a contrived framing narrative (which basically demands a lot of unnatural exposition to convey anything), really dampens it for me. I read it all as transcripts because that's a little more tolerable, but that just leaves me wishing it didn't need to be in a scripted format, and was .... a book .

My favorite concept it did bring forth, which well-aligned with my own impressions, was that seamstress room. I liked the half-made doll stabbed onto the table, and Noone feeling a connection, as if that was her, and all of these awaiting clothes. I enjoy the idea that one's consciousness is sort of split & hobbled when in-between reality & dream, until a vessel is made on this other side, which 'completes' you at last. I like the mythology of that, of needing a new body... exploring the 'doll' aesthetic we've got here.

I also like.... the notion of time not being linear, the Ferryman simultaneously existing for a lot of children. Since I'm only willing to engage Sisi & Otto as Six & Mono... I would love the notion of timelessness, that despite 'searching' for his sister for years, they might come into existence in this world at just the same time; maybe the Ferryman could have promised Six that her brother will come, & the matter of time is relative here as everything warps. They won't be apart, actually. I am FOND of the idea of Six & Mono's clothes coexisting in a trunk... despite Six having disappeared much 'before' his, in our world. Perhaps her body isn't finished being stitched together until Mono appears. That would be what I would like... </3 Maybe sissy only left because it was promised that you would eventually come.............. only the illusion of abandonment. To motivate you </3 come chase meeeeeee otouto