#i could probably go on and on about his character and development throughout the series

[hcneybrii]

if you cant tell i love armin arlet one of my favorites if not my very favorite character

[genericpuff]

Lore Olympus just pulled off the biggest whiff in webtoon history.

I promised I would choose one of two headlines and of course, this is the one we wound up with. But should we really be surprised? Rachel herself seemed to be telling on herself down to the minutes leading up to the finale, fully confirming to us that yes, she's been writing this comic at the last minute, by the seat of her pants, for ages now.

(that second one was literally posted TWENTY FUCKING MINUTES BEFORE THE COMIC UPDATED.)

Welp, let's get into it. Possibly the last essay I'll ever write about this dumpster fire of a comic (but probably not, let's be real LOL)

CONTENT WARNING: DISCUSSION OF SEXUAL ASSAULT AND FASTPASS SPOILERS FOR THE SERIES FINALE AHEAD!

Holy crap, where to even start with this. I knew it was going to be bad. I knew it was going to be rushed. I knew it wasn't ever going to live up to what I had hoped it would be years ago when I was still a diehard fan.

But I didn't think it was going to fall quite this hard. Despite bracing myself for the worst, Rachel has once again let my expectations down through a final display of explosive mediocrity and disappointment.

Yes, the episode is called "You're Welcome", and yes, that instant "ick" you're feeling is the exact same as what we're all feeling. This title plays into the dialogue later, but what a shitty, lowkey mean-spirited title for the series finale.

Now, before we get into the actual episode, the WT ads for this are just... so desperate and misleading.

They are trying SO HARD to hype up something that isn't there, and at the last minute to boot, because Rachel definitely hadn't written any of this ahead of time.

First off, the bit about the gods being in "eternal chaos" of course isn't a stake worth worrying over because Gaia literally does away with Ouranos in the first 5 panels.

Did you really think I was joking about that 5 panels thing?

That's it. That's the death of Ouranos. As mysteriously and quickly as he arrived, he was gone, after Gaia ripped out of him what appeared to be some purple sunny side up - but it's actually, in fact, Apollo.

And that's when we start to get some of the worst dialogue I've ever seen throughout LO. Remember when I said LO's dialogue was like Shenmue 3? Welp, the finale decided to continue that tradition and further fuel the suspicion that this entire thing was written by ChatGPT.

Oh, by the way, that "thank you, ma'am" was Artemis' first and last line of the episode. So once again, just like in Episode 248, we're completely robbed of her reaction to Apollo being a rapist piece of shit and the character development she could have had as a supporting character. The women in this "feminist retelling" really couldn't be more half-baked.

Gaia stumbles upon Persephone, and I'm not even gonna fucking bother showing the panels where Gaia says it's time to "make things right" because they literally don't matter. Why don't they matter? Because Rachel just had to get in one more pointless time skip.

We're shown a sequence of pointless images that I'm not gonna show as I don't want to waste my image limit on them, depicting Hades having a sad day because his small wife isn't with him and oh nooo what could have happened?? Did Persephone finally divorce him ??

Nah, we couldn't possibly have an actually happy ending in this comic. Instead we get a completely pointless phone conversation between Hades and Hecate-

Not only is the grammar particularly bad in this episode, but the actual script-writing is atrocious. We literally did not need this phone conversation to happen because-

-we're cutting BACK TO THE PRESENT THAT WE JUST CUT AWAY FROM FOR A 3 MONTH TIME SKIP. FOR NO REASON BESIDES SHOWING HADES BE SAD OVER SOMETHING THAT ACTUALLY ISN'T THAT BIG A DEAL, AS YOU'RE ABOUT TO SEE.

I- I LITERALLY HAVE NO WORDS. I HAVE NO WORDS TO DESCRIBE WHAT THE FUCK THIS IS. ALL I CAN HEAR IN MY BRAIN IS THE LEGEND OF ZELDA ITEM GET MUSIC-

-BECAUSE THIS WHOLE THING SUDDENLY SOUNDS LIKE SOME CONTRIVED FETCH QUEST. WHAT DO YOU MEAN HADES AND PERSEPHONE HAVE PROVEN 'TRUE LOVE' IS REAL? WHAT DO YOU MEAN THEY HAVEN'T USED 'LOVE' AS A FORCE FOR DESTRUCTION?? ARE WE FORGETTING THAT HADES MUTILATED A GUY IN THE NAME OF 'LOVE'? THAT PERSEPHONE LITERALLY INVADED THE HOME OF HADES' CANONICAL FIRST WIFE BECAUSE SHE FELT MILDLY THREATENED BY HER?

This whole concept of "true love" that Rachel is trying to convey feels so juvenile especially for a series that has sold itself as being mature and thought-provoking and progressive.

HAHAHA SO FUNNYYYYYYY why does Rachel write like this. this is, at best, the writing of a 13 year old on fanfiction.net, which I SHOULD KNOW, because I WAS ONE OF THEM. BUT I'M 28 NOW AND RACHEL HAS ANOTHER 10 YEARS ON ME.

Okay, this is the part where I'm CONVINCED Rachel either just mashed this into the episode in the MINUTES leading up to its release, or she used ChatGPT or something. Because NONE of this dialogue makes any sense. Beyond how stilted and lifeless it is (seriously, this dialogue reads like something from Empress Theresa) Gaia is clearly meant to 'replace' Erebus here which I SHOULDN'T HAVE TO EVEN EXPLAIN IS SO FUCKING DUMB, but ALSO what is even Persephone trying to communicate here? "That is true, but it was a deal I was willing to make and ties me to the Underworld. Please don't change me." What? Gaia hasn't even insinuated that she's going to do anything to Persephone, why is Persephone immediately jumping to this conclusion? What does 'changing' her mean? Is she asking Gaia not to force her to sacrifice something (which she never did)? Or is she asking Gaia not to strip her of her Underworld status? Because again, why is that even something Gaia would do?

Maybe this is harsh but I'm pretty sure even Empress Theresa is more coherent than this, what in the flying fuck is Gaia talking about?

"I can just see the potential for conflict! To relieve you from the burden of the whats, the hows, and wheres." Like... okay, first of all, that second sentence isn't even a complete sentence, it's a dependent clause left hanging, but also what the fuck does this MEAN. Is she EXCITED for the conflict but then contradicting herself by saying she wants to relieve Persephone of that conflict? Or is she saying she can see the conflict it would cause for Persephone to have to perform duties in both realms and trying to insinuate that she's going to relieve her of those complications?

Here's what I think happened - I think that second 'sentence' wasn't supposed to be a sentence, but the start of the sentence to the next panel-

So with that theory in mind, the sentence becomes, "To relieve you from the burden of the whats, the hows, and wheres, you are to spend three months in the Mortal Realm to do spring and the rest of the year in the Underworld. That seems fair to me."

It's still a very poorly written line of dialogue, but at least with that fix in mind it makes sense. But man, you can really fucking tell this episode was submitted at the last minute because that's a serious syntax error that should NOT have happened in this two-time-Eisner-winning comic.

Errors aside, it's clear that Rachel is following through on having Persephone spend only three months in the Mortal Realm, rather than the traditional six. There ARE other translations that have that number closer to four, but those four are the time she spends in the UNDERWORLD, meaning she's always spending either equal or MORE time in the Mortal Realm. Of course, Rachel doesn't want her self-insert small wife power fantasy to actually have to be separated from Hades despite this being a retelling of The Abduction of Persephone, so instead of her spending three months in the Underworld, she's now spending them in the Mortal Realm, literally doubling the MINIMUM amount of time (four months) she was originally meant to reside in the Underworld.

But oh no, apparently those three months are STILL NOT SHORT ENOUGH FOR PERSEPHONE-

Of course, Rachel "Retcon" Smythe had to have her cake and eat it too. I always worried something like this was a possibility, but I never thought she would actually prove me right - not only is Persephone only separated from Hades for three months out of the year, but actually he can visit her any time he wants to, so really, they're not separating at all.

I think Rachel needs to look up "reunion" in the dictionary, because if you can visit each other any time, then that means the 'reunions' are no longer special occasions. This completely removes any semblance of depth or meaning from all of the storytelling leading up to this, all of it with the expectation that this was a retelling of the Abduction of Persephone, because that's what Rachel said it was going to be. At this point it's safe to say that Rachel has zero business attempting to "retell" mythological stories, because she doesn't even seem to grasp the concept of why they were written the way they were to begin with. Either that, or she really just doesn't care, and the only reason for making LO a Greek myth comic at all was to propel her career.

This also brings me back to those promotional ads, the other one that posed the question, "Will sacrifice be enough to bring these two back together?"

This is stating the obvious, but I need to make it perfectly clear - Hades and Persephone have never sacrificed a single thing. The only thing they could POSSIBLY quantify as a "sacrifice" is "not being tied at the hip for a few hours", because even Persephone going on the equivalent of a work trip next door is apparently enough to make Hades sad as we saw in the 3 month time skip panels. Why is Hades so sad and lonely if he can visit her any time? Why is he acting like he hasn't seen her in years when he's actually on his way to reunite with her? Why is Hecate calling to ask him if he's "okay" as if he JUST got separated from her, but actually he's about to literally go to the Mortal Realm to reunite with her?

Hades hasn't 'sacrificed' a damn thing, neither has Persephone. They've both always gotten exactly what they wanted, even at the cost of breaking the story's own established rules. Their 'sacrifice' is equivalent to what billionaires think are 'sacrifices' when they can't buy another yacht or go on that third overseas vacation for the month.

And even outside of this episode, when have these two ever sacrificed anything?

I've tried so hard to think of what sacrifices have been made by the characters within LO, and I genuinely can only think of one - and that was when Artemis chose to go to the Mortal Realm with Persephone instead of staying with her family in Olympus. That was a genuine, selfless sacrifice, made by a character who has been shelved in favor of focusing on the self-centered pink and blue airheads.

Being forced to be apart for a couple days to do the equivalent of a day job and whining about it the whole time is not a 'sacrifice'. Neither of these characters have ever sacrificed anything, they just feel like sacrifices because they have the integrity and empathy of soggy cardboard.

sigh Anyways, we're back in the present and Hades and Persephone immediately decide they're gonna have sex because ofc, and then we get this gem of a panel-

MMMMMM

FUNNYYYYYYYYYYYYYYYYYYYY JOKE

For some reason it's just a common thing for people to just be in Hades' home, and they can't seem to get any privacy as a result of this, but I digress. Turns out they still need to have that coronation for Persephone.

There is... so much wrong in these three panels.

First, to state the immediate issues - why the fuck are they mentioning Apollo at Persephone's coronation? Like first of all, no shit Apollo isn't gonna be there, but also, if this is supposed to be an event for and about Persephone becoming Queen of the Underworld, then why in the WORLD is Apollo even being mentioned? This is supposed to be a "feminist retelling" where the victims are empowered and heal from their trauma, but LO once again can't try to show any sort of positive growth for the victims without bringing up the assaulters and giving them screen time. It just goes to show that Rachel's idea of "healing" is purely rooted in the revenge, and not the growth. It's a very high schooler approach to this subject, hellbent on showcasing how all the meanies from the past are losers now and life just sucked for them forever, but inadvertently proving its own point that the victims haven't and can't move on because the narrative is spending so much time on caring what's going on with the abusers. It's the "I don't care! Look at how little I care! I'll prove it to you by putting in the effort of showing you how little I care!" approach, it doesn't really feel like moving on.

It's not about how Persephone and his other victims could have grown and healed, no, Rachel always needs to highlight just how much worse the bullies and haters and abusers are doing to make the victims seem like they've healed by comparison. Don't get me wrong, I can understand wanting to showcase the downfall of a character like Apollo, but this just... isn't the right context for that? Because it's once again taking attention away from the victim to focus on the abuser. It's once again spending screentime on the voices of the oppressors rather than the oppressed.

And speaking of, what the fuck is this punishment even? I knew Rachel wasn't gonna be able to resolve this plotline properly, she never had the capability to, but ... community service? Are you fucking for real? What is this even a punishment for even? Was this EXCLUSIVELY the SA, or does this ALSO include his attempts to overthrow Zeus by poisoning him, nearly killing Daphne, Eris, Eros and Psyche, trapping Eros and Psyche in an enchanted basement, and framing his father's 'death' on his half-sister? Because if so, how in the world is anyone content with community service? He hasn't even been turned into a mortal, HE'S STILL A GOD, so what's to stop him from going "WE'LL MEET AGAIN, SPIDERMAN" and trying something else? How is this a reasonable resolution in ANY context?

This is why I talked at length about what an issue it was to hide what Apollo really admitted to. Because now we really don't know what exactly he confessed to, and thus we can never really see the point of views of the victims outside of just Persephone - and we still don't even get Persephone's, because she just walks away from him and then he gets eaten by Ouranos and next we see of him is him doing community service! Once again, any emotional development that could be given to Persephone and the other victims is stripped away to make room for the point of views of the oppressive men. In this, the two-time-Eisner-winning "feminist comic" that is LO.

And that brings us to the "where are they now" segment. Yes, as we all feared, there's a "where are they now" segment, and it's as rushed and underwhelming as we ought to have expected it to be.

There is just... so much to unpack here, and yes, all of it is delivered in the dumbest way possible that only raises more questions than answers.

So Rhea and Metis are just back and we're not gonna talk about the implications of them being alive again?

Dionysus is a 3 month year old in the body of a teenager / young adult, and his mom is just alive now because Hades conveniently got his hands on more ambrosia and brought her back to life offscreen? But somehow Triptomelus and Hedone are still child-sized relative to their ages?

How did they 'heal Zeus'? And why is he so content with losing his power as King and Apollo being sentenced to community service after making an attempt on his life? How does he feel about the letter that Hera gave him? Did he even read it?

Where the fuck is Hebe in all of this? Is she okay? Do people still think it was her who put Zeus in a coma? Or did Apollo confess to that, too?

You're telling me Hera and Echo are just in a relationship now despite the fact that Hera is literally racist towards nymphs and there is ZERO reason for them to have a relationship in the comic beyond the fans making gratuitous headcanons out of it? How is Rachel, a bisexual woman, so bad at writing actual lesbian relationships and giving them the same amount of attention as the heterocis ones without shoving them into the background as props for insincere queer rep? And what about Hera herself? How did she overcome her role as the Goddess of Marriage to finally divorce Zeus?

"Ares is still a dog!" Haha! Ares is still a Persephone simp! Happy end!

Why is Eros just standing there smiling at the camera struggling to be seen past Hedone who's just floating right in front of him? You're telling me there wasn't a better place to put her out of that entire panel?

"Hades and Thanatos have been making more time for each other. Sometimes they even have a conversation." I'm sorry, is this supposed to be funny? The man abused Thanatos for years, treated him as just a lowly employee when he was literally his adopted son, and now you're trying to play it off as a joke that they're "making more time for each other"? What the fuck is this?

TGOEM disbanded? Why? What about the women who were genuinely a part of it?

Also, Artemis and Selene are just good friends now because reasons? Because they're both affiliated with the moon, I guess? Why is Selene even in this comic-

"They are still looking for Kassandra". Who? And why? This feels like such a last minute addition to acknowledge a character that the comic spent WEEKS foreshadowing only to have her finally appear as a pointless McGuffin, but it's so last minute that it does nothing. I'm assuming it's Eros and Psyche looking for her, but like... why can't they find her? They're gods, tracking down one mortal shouldn't be that difficult LOL ???

And also, where the fuck is Leto?? You're telling me she was an accessory - maybe manipulating Apollo, maybe not - but we don't see what happened to her? Is she just back to being a social outcast then? jesus christ this comic isn't finished-

Kassandra is where the "where are they now" sequence ends, and we're treated to one final horribly written dialogue scene between Hades and Persephone, where they tell each other how much they love each other in a desperate attempt to convince the audience that this is, in fact, a romance.

There's this thing in romances called chemistry, and if you're good at writing it, you shouldn't have to write dialogue like this. You should be able to see how much the characters love each other through their actions, through their small behaviors around each other. It's not always about what they say out loud, it's about what they don't have to say, because when two people really share that close of a bond based on love and trust and chemistry, words often aren't necessary.

Hades and Persephone do not have that chemistry. It has been apparent for years now, but this final exchange really is the nail in the coffin. There are no microexpressions or subtle emotions, no subtlety in their word choice, and nothing unique setting their voices apart. It's all just "wow thank you for being such a wonderful amazing partner, you are amazing and I love you" word salad that has to do all the heavy lifting for the completely non-existent chemistry that's been at its absolute worst throughout this entire season.

And worst of all, despite this story trying so hard to be focused around Persephone, around her story, her trauma and her healing, her voice... it's still all just about Hades. In the end, she's thanking Hades, and forcing him to say "you're welcome". All of it is trying so hard to convince us that Hades has been a positive addition to her life, that she 'owes' so much to him, but we've obviously seen plenty throughout the comic that begs to differ. And even if he were a better person than he is, it still doesn't change the fact that once again, the men are being held up above the women, with the women being grateful to the men who choose them. LO can try its hardest to convince people that it's feminist, but it is, at best, reinforcing the very same structures of the patriarchal system that it claims to despise and rebel against.

We do get one line from Hades acknowledging Persephone's part in the relationship-

-and it falls so fucking flat because it's still about him and what she does for him, and because nothing about their relationship was built on any sort of organic chemistry. There was a lot more chemistry back in S1, but it was still predicated on Hades lusting after a vulnerable 19 year old girl.

Yep, and that's it. That's the end.

Except it isn't because Rachel wanted to try and be smart by including an 'epilogue' that's really just stretching the episode out pointlessly for another few panels. And of course, we had to get another time skip, just a final dose of salt in the wound, this time to years ahead when we inevitably had to reconnect with Persephone and Hades in the future after Melinoe was born.

To recap, Melinoe doesn't remember... because Hades had Morpheus erase her memories.

This plotline has really started to give me the ick because it actually feels very familiar. Bear with me here, because I'm gonna go on a bit of a tangent about my own original work, but it's because I wrote a plotline exactly like this years ago.

There's this... turning point, in Time Gate: Reaper, when the main character Uzuki is kidnapped by a Reaper (see: undead) who wants to experiment on her in the hopes that he can somehow gain her abilities to bond her soul with others (which later allows her to literally possess people after she becomes a Reaper herself). Mitsuhiro, the male deuteragonist who kickstarts the plot by telling Uzuki she's got a limited amount of time left to live (which he knows thanks to his magical death timers that mark themselves on his skin), feels an immense amount of guilt after finding out she was kidnapped by the Reapers (at this point she's been gone for three months), as they were originally after him; he worries that she was made a target simply due to him associating himself with her, and vows to rescue her.

With the help of some other spunky teenagers and anime trope characters, Mitsuhiro does eventually rescue Uzuki - but for the three months she had been gone, she had been tortured, abused, and experimented on, causing her mind to split and for her to lose any sense of awareness of who Mitsuhiro or her other friends were. She was no longer herself after the hell she had been through.

Mitsuhiro's solution to this is to have Springlock - another Reaper with motivations that are not yet clear to the cast - erase her memory. This is not a light decision that comes without consequences - for the remaining duration of the story, Uzuki is plagued by night terrors and panic attacks, unable to really remember what happened to her aside from whatever brief flashbacks her brain recalls in its haze of memory loss. She is traumatized, both physically and mentally. She has lost three months of her life and memories, and doesn't know how to explain why she's covered in scars that are still healing, why she's missing organs, why she's now blind in one eye, and why the sound of scraping metal and ticking clocks gives her panic attacks. Mitsuhiro has convinced her friends that she's suffering from memory loss due to trauma, but only he knows the truth that he forcefully took her memories away from her, without her consent. This was not the right choice to make. It was not noble of him, it was not a grand gesture of love, he made a decision on her behalf without her consent that has now resulted in her becoming a nervous wreck. Sure, she still would have had PTSD if she remembered what happened, but at least she would know why and could then seek adequate help. Without those memories, she has nowhere to begin to heal. And so we see the consequences of this throughout [AFTERBIRTH] and even the upcoming Thread of Fate. It is a long-term problem that is not going to be solved overnight, especially not with Mitsuhiro withholding information from her.

Reading about Melinoe having dreams about her experiences trapped in Tartarus with Kronos ... it felt familiar enough that I had to talk about why the insinuations of this are so fucked up. I know there are people who are gonna handwave it away as "she's just a kid", "these are gods so what does it matter", etc. but ... it just feels like such an oversight to have Hades effectively erase her memory of her trauma and then hint at them still being present in her mind through her dreams. She did not ask for that. And the fact that she's now dreaming about it all does not bode well. But we're supposed to think Hades made the correct choice, regardless.

But none of this is effectively expanded on or explained, because we get one final scene of Melinoe and Demeter visiting Persephone, who has just given birth to... Makaria?

So it turns out Persephone and Hades are just able to have biological children now. Don't know why, but of course they both look exactly like Hades.

What I was really confused by though is the fact that it's Makaria and not Brimos. Do you remember Brimos? The child that was foreshadowed in Hades' original fantasy dream sequence about his future children about Persephone?

Either Rachel completely forgot about him, or she saw all the criticism over the fact that Brimos isn't a confirmed child of Hades and Persephone (rather, an epithet that can apply to basically any Underworld god including Persephone and Hades) and that her "research" was dependent on a book she read when she was 13 and decided to axe that. But she went to the effort of establishing that all the dreams Hades had were , in fact, canon visions of the future, so good job Rachel, you created yet another plothole on top of the hundreds of others.

And that's where the series ends, on a final nuclear-family-photo of Persephone, Hades, Melinoe, and Makaria. Of course, Dionysus and Thanatos aren't present in this shot because this is Lore Olympus and only biological children count /hj

Why Rachel couldn't move the "the end" portion to THIS part, I don't know, but I'm also expecting way too much of the person who finished this 20 minutes before it was due.

So that's it. Six years and that's what we get. I didn't expect much, but I was still incredibly disappointed, as were many others who walked away from this dazed and confused. Maybe it's all the "haters" deserve at this point. But what of the fans? While many of them are celebrating this ending at best and tolerating it at worst, I can't help but think of the fans of this comic who hung on for so long in the hopes it would "pay off", just for it to go out as gloriously as a wet fart.

As for me, I have such mixed feelings about Lore Olympus ending, but none of them pertain to the comic itself. Most of what I'll miss from this comic isn't the comic itself, but the people who have made reading it every week so fun, the artists and writers who have enriched the content with their own interpretations of what could have been, and the experiences of being part of such an amazing community made up of people who are as long-term-obsessed about this piece of media as I am.

I get people who ask me a lot if it's "worth it" to be so engrossed in the LO slander, who assume that I'm going to "regret" ever being a part of it all... but from where I'm standing right now, I couldn't ask for a better view.

Even if I didn't love every minute of it, everything I have here I owe to this comic. This stupid, wonderful, boring, amazing, pile of shit comic.

[seriousbrat]

this says a lot about Snape's character development for me. There are many parallels drawn throughout the series between Harry and Snape; obviously, they're very different characters but there are similarities too.

I think here Snape is talking about himself. The teenaged Snape we see in the Pensieve is very much like this- emotional, heart on his sleeve, easily provoked, a definite wallower in sad memories... weak. Adult Snape, though he retains some of these characteristics that do emerge in stressful moments (in PoA we see how angrily he reacts to Sirius's escape, for instance) on the whole is a great deal more thoughtful, reserved, calculating, measured.

I think that Snape at some point had to force himself to become this. I think he actually relates to Harry here, and is giving him advice based on personal experience. In my fic he begins to learn to control his emotions partially out of a desire to protect Lily; he's fully aware that she's his weakness (or really, his strength, viewed a different way) and that openly displaying any sort of emotion towards her at all makes her vulnerable to the likes of Avery and Mulciber, who will have the perfect weapon to get to him if they want to.

Severus doesn't have the advantages of his peers, he's not pureblood, he wasn't born into money. If he wants to join the Death Eaters and rise in their ranks, he needs to be subtle, cunning, careful. he can't afford to be careless and entitled like mulciber or bellatrix or even sirius. what he's got to offer isn't his name or his money, it's his sheer talent and cleverness. moving on:

When Voldemort decides to go after Lily this becomes even more important. Imo the reason why Voldemort believes that Snape only "desired" Lily is because that's what Snape told him. He lied to Voldemort's face and told him something probably disgusting tbh because that's the only way Voldemort would accept it and agree, if it was a selfish, callous request that Voldemort could understand. We can see evidence of this here:

Asking Voldemort to spare a mudblood because he was in love with her would likely not have gone over well- and as we know, Voldemort actually bore his request in mind, though obv didn't give enough of a fuck about Snape to follow through. Because although asking voldemort to spare her must have taken serious balls, Snape's mistake here was trusting someone inherently selfish to do something selfless for him.

Clearly he immediately realises this and goes to Dumbledore, which is when controlling his emotions becomes of paramount importance, because now he's working against perhaps the most highly accomplished legilimens of all time.

It's also interesting to me that Snape in this conversation is probably the character who is most forthright and informative with Harry in the whole of OotP until Dumbledore at the end; Harry actually learns a lot in this conversation. And Snape also kind of gives him credit which is interesting too:

like for Snape that's high praise lmao. A shame because if he wasn't so bitter (i.e. didn't wear his heart on his sleeve so much around harry) then he might have actually been pretty helpful to Harry and a decent teacher. Again, during the Occlumency lessons his unrestrained emotion brought up by memories of James is a hindrance. He defies Dumbledore's orders to teach Harry Occlumency because of his emotional response to SWM, as well as honestly doing kind of a shit job before that (by not being empathetic and teaching Harry in a way that would've been actually productive.)

At this point Dumbledore believes that Harry learning Occlumency and controlling his emotions is of vital importance; he turns out to be wrong about this. In Harry's case, it turns out to be his emotional nature that saves him- unlike Snape, who is the opposite. Snape's journey is about learning that some things are more important than his selfish need to give into his own emotions.

By DH Snape's learned this lesson fully; his old hatred for James doesn't stop him from doing what has to be done, from giving Harry the tools he needs. Even in the final moments of his life, he can look past James and see Lily in Harry- and, by giving Harry the information that leads to his self-sacrifice, he can let her go.

[directdogman]

Hello Hound!! Since it's Dialtown's 2nd anniversary, I've been planning up a few "general" related questions about your series that I've been meaning to ask, but I decided to save them up for the big day because why not? Anyways, here's what I've got, these were meant to be fun to answer so don't sweat it :]

1: How do you feel about Dialtown's success? Are you proud of how far you've come? 

2: Which character was the MOST fun for you to write, and which was the most PAINFUL?

3: What is something you wish more people would talk about or just know about related to Dialtown in general?

4: If you had the opportunity to write a FULL complete, detailed life story of any of your characters, who would that be?

5: What's a character you wish you could have given more screen-time or just in general content? (Considering iirc you were trying to make sure Dialtown wasn't TOO long, so I was wondering if this ever came to mind)

6: From what I know, you've been doing the job of cosplaying several characters in the game and acting out their sprites, which one was the most fun to act out?

7: Speaking of sprites, do you have a sprite you could consider your favorite, out of ALL your characters?

8: Do you have a specific line of dialogue you could consider your favorite throughout the entire game?

9: Could you ever see Dialtown expanding into perhaps sequels or maybe even prequels? More DLCs mayhaps? Heck, maybe even a Dialtown 2 or a Chapter 4??

10: If you could make any fan-made interpretation (such as headcanons, designs, or ships) canon if given the opportunity, what do you think would be your pick?

11: What was the MOST fun part about developing Dialtown? Coming up with new characters? Writing them? Adding all the bizarre dialogue options?

12: And last but not least — on a scale of 1-10, how fun was developing Dialtown just in general?

That's all I have for now, and I'm really excited to see your answers!!

I normally don't answer this many questions, but... alright, sure, tis the season!

1: How do you feel about Dialtown's success? Are you proud of how far you've come? 

Yeah, of course! I'm a lil proud, admittedly, but I'm aware of how comically little I really have to do with it all, even if I did make the game. Luck does play a LOT into it, of course. Granted, I made my share of predictions that wound up being useful, but it always comes down to lady luck at the end of the day. I've seen good projects fail and bad ones go viral. It's really all just a hodgepodge of probability and whimsy. That being said, I am very pleased with DT's success, and the community that's formed around the game! It caught me by surprise!

2: Which character was the MOST fun for you to write, and which was the most PAINFUL?

Gingi's always fun to write. And Mingus. Most painful is tough to say. Maybe Crown. I got a little weird when I wrote his full backstory, kinda caught up in the emotion Norm talks about. Never been a fan of stories getting cut short. You gotta wonder what would've happened if he'd made different choices, y'know?

3: What is something you wish more people would talk about or just know about related to Dialtown in general?

Honestly? Karen, probably. She's super underrated for sure. The fandom still loves her, but she doesn't get the same kind of attention as Oliver, Gingi, Randy, Norm. She's worth it.

4: If you had the opportunity to write a FULL complete, detailed life story of any of your characters, who would that be?

Oh, I already have. I have this monstruous 30-40 page document detailing Crown's life and entire career. It's quite a read. and quite a mind-fuck if you don't know Dialtown's universe too well.

5: What's a character you wish you could have given more screen-time or just in general content? (Considering iirc you were trying to make sure Dialtown wasn't TOO long, so I was wondering if this ever came to mind)

Oh yeah, a few characters had scenes that were cut. Stabby, Shooty, Mingus, Bunny, even Bigfoot! There's also the game's cut 6th datable, who was an interesting character with ties to other characters in the cast who I wanted to do more with. Ah, maybe one day.

6: From what I know, you've been doing the job of cosplaying several characters in the game and acting out their sprites, which one was the most fun to act out?

Bigfoot. I made the ape noises in the suit. Had to. It felt right.

7: Speaking of sprites, do you have a sprite you could consider your favorite, out of ALL your characters?

I quite like Norm's set, Mingus' too. Karen's poses too are quite good.

8: Do you have a specific line of dialogue you could consider your favorite throughout the entire game?

That answer probably changes every day. I like pretty much any scene where Mingus loses her temper.

9: Could you ever see Dialtown expanding into perhaps sequels or maybe even prequels? More DLCs mayhaps? Heck, maybe even a Dialtown 2 or a Chapter 4??

I'd love to make sequels one day! I've got a lot of ideas for where the characters/story would end up. By the time DT1 wrapped up, I'd conceptualized way too much stuff to put in one game (without it taking another few years to finish), so if I ever wanted to make sequels, I'd 100% know where to start! But, that's a later down the road conversation.

For now, I'm gonna keep working on the Roger DLC and if there's demand for more, I can go from there :)

10: If you could make any fan-made interpretation (such as headcanons, designs, or ships) canon if given the opportunity, what do you think would be your pick?

I guess I COULD do that with, like, anything. Nothing immediately springs to mind, since, y'know, I'm in control of the canon anyway. I will say, I've seen headcanons and theories that ARE scarily accurate to canon, to the point where I've feared people would just think I'm lifting stuff from the fanbase! It's a good thing I talk about these things with collaborators, huh? I've got a PAPER-TRAIL!!!

11: What was the MOST fun part about developing Dialtown? Coming up with new characters? Writing them? Adding all the bizarre dialogue options?

Finishing a new scene and realizing how stupidly long it was (without me realizing it) was always a treat. But yeah, writing the characters had to be it. Specifically any scene where a character the audience knows meets someone the audience doesn't know well (or at all), with the dynamic changing. Those are fun to write.

12: And last but not least — on a scale of 1-10, how fun was developing Dialtown just in general?

Hard question to answer. I do really wanna give a high number, but truthfully, a lot of game dev actually isn't super 'fun'. Some tasks are, granted, but many parts are a slog. Sitting and formatting dialogue, and then adding text pauses and pose changes isn't exactly a super thrilling activity. The engine itself also has some issues which I have to work around that adds to the workplace. Play-testing a scene for the 4th time isn't super fun either, or trying to figure out why the game crashes on some PCs and ONLY very rarely... Those tasks are Sisyphean to some degree.

...But, while most of those parts aren't fun, it's all still rewarding. There's a sense of accomplishment when you finish a scene. You get to look back at your hard work, remember the hours you spent typing dialogue into a text box and formatting mass amounts of pngs, painstakingly + manually getting the game's awful pre-loader to deal with the sprites right, etc... and suddenly, at the end, you've got this lil experience that people can play and enjoy. Somehow, the sum of all of those not so fun activities has created something that's going to make people laugh, feel happy. That's special. and even if some parts of development weren't super fun on their own, that's always what I remember. That in the end, all of those not so fun days mattered.

The route I agonized the most over was Oliver's. I went through a few weeks of writer's block, and now, it's one of the most popular routes in the game! Crazy how that happens. I was SURE for about a week that people would rank the route at the bottom! That's what I mean, all of the stress I went through trying to figure it out amounted to something people connected with! To think I almost CUT the route entirely!!!

And y'know, God knows Dialtown gave me something to throw myself at during a time where I REALLY needed the outlet. I'm very grateful to the project for that. So, I'll give DT an honorary 8 out of 10, even if it wasn't a consistently 8/10 experience making it heh heh! Sure glad I did, though and I'm very glad if any of you reading this had a really good time playing it! :)

Thanks for the questions!

[panlight]

Okay, so we know that vampires in Twilight don't get sick. But what about mental disorders, like autism, ADHD, OCD, etc.? Do they keep those from their human lives? Can they develop them in vampire 'lives'? Or is it like with physical sicknesses, vampires are immune to them? What do you think?

I think that anything related to neurodiversity probably carries over. Becoming a vampire in the Twilight universe heightens everything, it makes you more 'you.' In some cases certain kinds of neurodiversity might even help? Say if in your human life you were really sensitive to light/noise/touch, but you developed coping mechanisms for that. Well, when someone becomes a vampire, all their senses are heightened. If you're already used to dealing with that kind of thing, it might make your newborn period easier vs someone more neurotypical who is dealing with these kind of overwhelming sensations for the first time.

In some cases, I could see certain traits even being enhanced to the point of superpower. If you're very good at masking, maybe you develop some sort of illusionary shape-shifting power -- that is, make people see you differently. You don't actually change how you look, just how you look to other people (so it probably wouldn't work on Bella's mind shield). So you could maybe go out in the daylight because you can make people 'see' you as not sparkling and with normal colored eyes or whatever. If you were really attentive to details that other people miss, maybe you get a kind of ESP where you just 'know' things because you're picking up on subtle signals to an even more enhanced degree.

I think conditions caused by chemical imbalances (vs things caused by personality/life experience) might be 'fixed' in the transformation though, since the vampire body works differently.

And I think we see from the books that vampires can develop some kinds of mental illness; we've got Marcus who is eternally depressed after the death of his mate. Jasper was depressed for awhile in his backstory. Edward clearly suffered from depression during New Moon and arguably anxiety throughout the whole series. Other characters are still dealing with trauma in various ways. But the lore is that it takes more to change a vampire -- something big like the death of a mate -- and so it would also take more to 'cure' them of whatever the problem was and that human medications would not work.

[vsaintsin]

Writeblr Re-Intro

Yo! I'm V Saintsin. Or V or Vin or Saintsin or whatever you want to call me that sounds right on your tongue. I'm a self-proclaimed Social Media fumbler who got a late start to the party and has never quite figured it out. I hate how hipster and edgy it sounds to say "I'm bad at social media" but like I used to work with some people who actually managed the social media accounts for the business we worked for and there were rules and whatnot and damn, I think online media is just not my medium. That being said, here I am! Hah

I'm an author and general mess who's hoping to be the miracle man (somebody who makes a living writing silly little stories). I do use a pseudonym but please hear me out when I say I didn't realize how edgy it sounds, it just has some sentimental value to my personal life. I'm so sorry that I sound like I'm in my emo phase HAHA

About me -

He/Him Transguy from the American Midwest (arguably the south, depending on who you talk to, but the older people still say "Sodi-pop" and "ope").

I'm dysautonomic, bendy, permanently sleepy, and a survivor of Crappy Doctors Who Suck At Doctoring.

I like DnD, Pathfinder, Baldur's Gate 3, Cyberpunk, Dragon Age, and other things in that vein.

I do make art of my stories and characters (Tablet is currently not working so I'm in a dry spell).

My writing background is predominantly ancient, dusty RPs from as far back as the foopets days and fanfic writing on Quizilla - I am an old and wizened elder of the net.

My formal education was music performance and behavioral neuroscience, I don't really know how I got where I am.

This is not my first rodeo with tumblr but it is the first time I have anything to SAY instead of just lurking.

In the event of malfunction, you can put me outside for 5 minutes and I'll probably factory reset.

My existence as I know it hinges on a massive number of sticky notes plastered throughout my room.

What I'm lookin' for -

Idk, whatever? I'm down for most things. Did you write it? Cool, let me see. I'm not too bent on genre or anything, just fascinated by the art of storytelling.

A bit tentative with fanfiction but that's just because if it's not a fandom I'm familiar with I am rather clueless about what the hell is going on and if it's a fandom I am familiar with I HUNT DOWN THE DEEP LORE.

I like art a whole lot, including fanart. Also art advice, love seeing things from different perspectives and learning something new.

Mutuals, really, for any reason. Building better connections on here, getting to know people. I am hideously bad at this but I try.

What I write -

Science Fiction with heavy subjects that matter to me - trigger warnings on a story-by-story basis.

High Fantasy (eventually books I think?) characters and their backgrounds for DnD and Pathfinder - I have been tempted to share these to help people get ideas or just for free use?

Things that I delete because I have crippling imposter syndrome and publishing makes me nauseous (doin' it tho).

Stories that I hope will make people feel less alone or that people could relate to, stories that I wish I had when life was worse and I was reaching out for anything I could find to keep me afloat, stories that try to be critical of things that SUCK in a way that's any helpful.

Lots of curse words and cussing (that's just how people talk 'round here), dubious science, things that I hope might make you cry but in a good way though.

Character-Driven stories that revolve more around the development of the person and less around the plot itself if that makes sense.

I've put blurb things below for my primary project/series which features a grumpy, queer, 37-year old chain smoking Frenchman and his misadventures with life and love and unbridled rage. If any of that sounds cool stick around and hang out? (This part is a plug bc I did a thing and I'm proud of it) And if my books sounds interesting the first one is 99 cents on Kindle and you just need a phone and a free app to read it!

THE SECRET OF LIFE (Published) - Sci-Fi/Psychological Thriller, Bi M Lead, Lovers to Enemies, AI but the oldschool cool kind not the real world thing that's stealing our future

Carlisle-Trystan Antoinette is a mercenary on a hard road, navigating life and death itself in an infinite cycle started by powers above his understanding. He has one mission - warn The Dianican Space Station of the coming threat and put a stop to a war that would encapsulate the whole of the Sol System before it can ever begin. Unfortunately for Carlisle, reality is a tenuous thing, made up only by our understanding of it. At least, according to his Psychiatrist, who tells him that there is no war, that he was never a mercenary, and that what Carlisle is experiencing is a severe but manageable psychotic break. Stripped of his combat enhancements, his bio monitor, and everything he's every known, Carlisle has a decision to make. Does he give in to the thoughts and memories, so real that he can almost taste them, or does he live a life of comfort and ease, returning to a husband and daughter that he left behind?

TWs: Domestic and War Violence, suicide, rape, medical trauma, grief, drug use

THE SILENCE OF ANGELS (Due 2024, TSoL 2) - Betrayal and Rage, Learning how to love again slow-burn romantic subplot, Learning how to Dad, A general inability for any one thing to just go right

(Quick Rough Blurb that offers no spoilers for TSoL) Making connections isn't easy for somebody who's accustomed to burning bridges. Isolation has always been Carlisle's mantra for surviving his life. Playing a role comes second nature, pretending to be the man that everyone else wants to see in him. When an old friend is murdered Carlisle finds himself as the primary suspect with all evidence pointing to him so clearly that even he calls to question what he is capable of. Unwilling to believe that he could commit such a heinous crime, Carlisle sets off to find the truth of his friend's death - was Carlisle framed or does he truly have the capacity to bring such harm upon those he loves? Old and new bonds will be tested, faith broken, and the future of everyone called into question as lines are drawn and sides are picked.

TWs: Violence, mentions of SA, graphic character death, more grief, more death

I don't know what else to say... Later!

[lavendersugarplum]

Why Ben’s Death Was Important.

These two TUA characters could've died earlier, and I would not care.

Now that The Umbrella Academy has come to an end with Season 4, I feel like it's the perfect time to share some of my thoughts on the characters, and one in particular—Jennifer. If Jennifer had been killed off at any point during the season, it honestly wouldn't have affected me in the slightest. I just couldn't bring myself to care about her character. Jennifer's presence throughout the series has been minimal at best; she's barely had any screen time or development, making it hard to connect with or invest in her story. In many ways, she felt like a character who was simply there to serve the needs of the plot, rather than someone we were meant to root for or even understand on a deeper level.

The show could have handled her just as they did with Harlan—abruptly writing her out without much of a send-off. Harlan, who was once an important character, was discarded with little fanfare when his role no longer fit into the narrative. But because Jennifer is more closely tied to the central plot and Sparrow Ben's storyline, the writers clearly felt she was too important to be cut off so easily. Despite her being integral to certain plot points, it felt like her character never truly got the attention or development needed to make her compelling. So, while her survival made sense for the overall narrative, it didn't do much to make her any more memorable or likable to me as a viewer. If they had killed her off from the start, then the show would basically be over. Happy Ending for everyone....except her.

Another character I would have had zero qualms about losing is Sparrow Ben. Especially him. I HATE this character with a passion. No one can ever replace Umbrella Ben in my eyes; he will always be the best Ben, the only valid Ben, and the one who truly mattered. Sparrow Ben, on the other hand, is an entirely different story. I wouldn't give two flying fucks if something terrible happened to him. 😭 From the moment he appeared on screen, it was clear that his character was meant to be unlikable—arrogant, self-centered, and constantly at odds with everyone around him. And while it seemed like the writers tried to soften him up in late end of Season 3, hoping to make him more sympathetic or relatable, it just didn't work for me. Any attempts to redeem Sparrow Ben fell flat, and he remained just as obnoxious as ever.

Frankly, I'm convinced that the only reason the Umbrellas kept him around was because he looked like their beloved Umbrella Ben. If it were up to me, I'd have left his ass somewhere along the way, probably "accidentally" letting him get swallowed up by the Kugelblitz or one of the many other apocalyptic threats they faced. The Umbrellas' insistence on keeping him around felt misguided; he's not their Ben, and he's made it painfully clear he doesn't want to be part of their found family. I kept thinking, "Just let him go! He's not your brother!" The whole dynamic was forced and uncomfortable, and it's hard not to blame him for a lot of what went wrong this season. The group's willingness to cling to this hollow version of their lost sibling only made things worse.

Because let's be real, most of the things in Season 4 can be traced back to Sparrow Ben's actions or his selfish decisions. If they had just left him behind earlier on, half the disasters they faced might never have happened. The Umbrellas should have cut their losses instead of trying to see something redeemable in a character who had no interest in being part of their story. To me, the only decent Sparrows were Sloane and Marcus—characters who, unlike Sparrow Ben, showed some sense of loyalty, vulnerability, and a willingness to grow. Sparrow Ben was just dead weight, a constant reminder of what the Umbrellas lost, without offering anything meaningful in return. He is a prime example to show how none of the Umbrella's are willing to just let go of some things and move on.

The entire series of The Umbrella Academy revolves around one central theme: the siblings' refusal to let go of the past and accept things as they are. They're constantly clinging to old traumas, memories, and regrets, unable to move forward. This is why Sparrow Ben's antagonistic personality is in a way important to the storyline. If he had been as loving, kind, and brotherly as Umbrella Ben, his role as the catalyst for the Umbrellas' downfall would have made no sense. Sparrow Ben's cold and selfish nature was a direct contrast to what the Umbrellas once had, highlighting just how much they were still trapped in the past, desperately trying to hold onto something that was long gone. So even though a lot of us might absolutely loathe this character, he role was a reminder that you can't recreate what you've lost, no matter how hard you try, and this refusal to accept that truth is what ultimately led the siblings down a destructive path.

Rewatching the series with this context makes Umbrella Ben's death feel even more important. On its own, his death is a heartbreaking and tragic moment, a sudden loss of a beloved character. But when viewed within the entire narrative arc of the series, it transforms from a purely sad event into something more complex—almost a bittersweet relief. I believe now that Ben's death was a subtle foreshadowing of how the story would ultimately end. It was a powerful hint at the series' overarching message about the necessity of letting go. Ben's journey was a microcosm of what every character needed to learn but often resisted—the painful but necessary act of moving on.

Ben was the first sibling to accept his fate, to realize that holding onto people, memories, and pain when it's time to let go is not only unhealthy but self-destructive. His decision to let go wasn't just about moving on from his own death; it was about ending his cycle of self-inflicted suffering. He recognized that by clinging to the past, he was only perpetuating his own misery. His final act of release allowed him to find peace, breaking the cycle and allowing his spirit to finally move forward. This stands in sharp contrast to the rest of the siblings, who repeatedly fall into the same patterns, unable to break free from their own personal demons.

To break the cycle, you must be willing to let go, just as Ben ultimately did.

[cornyonmains]

I'm still trying to figure out how I feel about season 3 of The Witcher, but one thing is for certain, I'm loving Jaskier's progression as a character.

I think it goes without saying that a huge turning point for Jaskier was his falling out with Geralt on the mountain in season 1. As I read his character at that point, he was quite in love with Geralt, and very much suffering from the belief that he wasn't enough for Geralt in any sense of the word, not as a lover, a friend, or a traveling partner. You see this insecurity ramp up throughout the entirety of the season 1 finale, and to think Geralt hadn't noticed that was lunacy. He did, which was part of the problem. Geralt needed to lash out, he needed someone to lash out at, and there Jaskier was, already wounded, the easiest of targets, and Geralt goes full savanna apex predator on his ass. Then he left him, on a mountain, that he knew Jaskier didn't know how to traverse safely. He said fuck off, and also die.

Jaskier could have crumbled, and for awhile, he probably did. But this led to a key moment of character development, because it caused Jaskier to take himself out of Geralt's shoes and get back into his own. To introspect. And Jaskier realized that he was enough, that he'd done a lot for Geralt, and that Geralt's refusal to embrace his own humanity while still wanting Jaskier as a friend resulted in him becoming an emotional punching bag. And Jaskier, rightfully pissed off after reaching these conclusions, channeled that anger into the post-break-up banger of the century, Burn Witcher Burn. But at the core of what ultimately makes Jaskier one of the most sympathetic and relatable characters in this show, is that he didn't do it so much as he was angry, but because he wanted Geralt to hear it. Because his songs are how he expresses what can't be spoken. The tragedy of Jaskier's character is that he was always going to forgive Geralt. That he was always going to drop what he was doing to trail this man with an affection even Yennefer doesn't easily mock, because it would be entirely too cruel. He wrote that song so Geralt would come and say he was sorry and Jaskier could go back to settling for scraps of his time.

So then we come to season 3, and enter Radovid. Enter the first person Jaskier's met in 30 long years that intrigues him as much as Geralt, and he's absolutely taken off his guard by that sentiment being returned after he's spent over half his life accepting something like that could never happen for him. He's 50 years old. Jaskier has accepted his fate of endless pining at this point. So when Radovid asks him to sing a song about his white-haired witcher, Jaskier slips up. He reveals too much, and it gives Radovid the chance to say exactly what Jaskier needed to hear.

"Does the witcher know how lucky he is to have you?"

I imagine it's rare for Jaskier, who spends his life finding the right words for others, that someone would find the right words for him. It's little wonder he was so immediately fascinated by Radovid, and so immediately heartbroken.

For 3 seasons and multiple decades, we see Jaskier's entire character formed by the hurt he endures being part of Geralt, Yennefer, and Cirri's life. And despite all that hurt, all the rejection, the betrayal, the torture, harassment, manipulations, and political intrigue we see Jaskier progressively becoming a better and better person. He helps Geralt, Yennefer, he helps the elves as the Sandpiper, and watches Cirri without a word of complaint. He throws himself into any dangerous situation asked of him, and helps Yarpen's men. He doesn't let the pain make him bitter. He still thinks love is beautiful, even when it hurts. He drinks, he fucks, he makes merry. He writes sad songs about Geralt.

Jaskier's development, his portrayal as a character, has been a true highlight of this series.

I sometimes think the djinn, in some cruel last jab at Jaskier and Yenn, used them both in Geralt's wish as a form of punishment. For Jaskier, his punishment for wanting so much, so quickly, was to spend his life wanting the one thing he couldn't have. That thing being Geralt, because to punish Yen, who so badly wanted control of her own destiny, he tied it to Geralt's. It's like a magical ouroboros of misery. And for Geralt, who tried to put a stop to the madness, the djinn rewarded him with the thing he wanted most. A family. A wife, a daughter, and a best friend who would never leave. It's some dark and complicated shit, and I think it rings true to the tone of the story itself.

Never has any character in this history of everything deserved to bone a hot Redanian prince more.

[pestorik]

you said something about some ships in the AT au, so now you're being interrogated. What ships do you like/what ships are canon for the AT au besides epeljack?

people are allowed to ignore whatever ships they want or see them as platonic but the ones i see as canon in the au:

treycater: they are exes but i imagine them eventually getting back together after a lot of character and plot development on both their parts, they have a lot of growing to do individually. there would be lots of antics in which they are forced to spend time together and Talk It Out.

jamikali: this one has a lot of flexibility in terms of whether you want to see them platonically or romantically, i actually enjoy the potential for both. i think kalim would set jamil free like at the beginning of the very last season and throughout that season we woud see what their lives are like without the other and they would both realize they want to be together (jamil ideally stops wanting to subjugate the human race). it would be heavily implied that they are dating in the last episode.

epeljack: at the series finale, when jacks curse is broken (or maybe he comes to peace with being a wolf), they travel the world together. definitely wouldnt happen until after the end of the show tho

rookvil: they are kind of a joke ship bc i think vil mostly sees rook as an annoying pawn (im deeply attached to vil remaining cartoonishly evil for the whole show sry) but maybe he eventually agrees to ONE date and they have a fun night ruining peoples lives. after epel leaves vil probably allows rook to stay over more often bc hes no longer used to living alone. so they are kind of in a relationship in which vil is more tolerant of (perhaps even enjoys, sometimes returns) rooks deranged love. rook is a huge masochist and 100% believes he has found his sadist soulmate in vil (he's right)

silbek: you can take or leave this one but regardless they are definitely life partners, platonic or otherwise. the dragon kingdom is very ancient and isolated, they have little contact with other cultures bc of their location in the mountains (it's hard to get to if youre not a dragon). silver and sebek would gradually start leaving the kingdom more often throughout the show and show more interest in the outside world. in the final episodes malleus and lilia give them their blessing to leave the kingdom and travel the world (ofc they are always welcome back). having learned of his own origins, silver wants to search for surviving humans, sebek agrees to stay by his side (protect the squishy human).

leovil: im honestly not even a huge shipper of this and dont really consider it canon to this au but i just LOVE a dynamic in which they act like a divorced couple that hate each other. maybe they have romantic history, maybe they dont, but they hate each other ❤️

jeiazu: they are sweethearts in crime, forever evil. notes from original post: their version of a happy ending is just them being evil together and constantly making up and breaking up for eternity. I'm very into that kind of dynamic lol where they are constantly bickering but are both so fucked up that no one else could ever understand them so they always come back to each other.

adeuce: nobody can tell if they are dating or not bc they are both so stupid, and i think it will remain that way for their entire lives.

not canon but i like to think about it as a little treat: mallekei (maybe they go on a feeew dates, trey is NOT upset about it), azurid, mallerid, idiazu, deurid, leoruggie, idikei, lilidia

[neko-loogi]

Heeeyy, I'm back with a new Helluva Boss opinion post thingy

Okay so, the Mammon episode- it was alright I guess? Tbh it didn't strike me as super awesome or anything, it's just kinda there?

Anyway, let's talk about it a little bit!

So I wanted to start off with Mammon himself, I'm gonna be honest I don't hate him but I don't like him either. I'll admit I do actually like his voice, I'm sure y'all might find it annoying but I dunno, I like his accent and the way he talks is kinda funny. His design tho? Eh, it could use some work.

For instance, his eyes are weird, like every time he was on screen my first thought was always: "Wow, he looks like Robin from TTG". I also hate how he's shaped like your typical "fat" character from cartoons. But for some reason they decided to give him skinny arms but a round body. He's weirdly disproportionate, which is disappointing because they definitely could make a better plus sized character design. But oh well, knowing Viv, she wouldn't even try.

I will admit his true demon form is kinda cool, except that I actually thought he was going to be a caterpillar or something but he's a spider? I swear, Viv has some weird design choices.

Moving on, the episode was cluttered as hell. It had way too much stuff in it, which made the episode feel eternal. Not only that but the episode has 4 songs.. FOUR FUCKING SONGS- When will Viv realize that not every HB episode needs a song? Like is this shit an animated series or a fucking musical? Make up your mind Viv-

Anyway, I'm glad this episode focuses on Fizz, but his character did feel a bit off in certain scenes, but aside from that everything else was fine. (I found that scene of Fizz talking to the deaf imp child while using sign language to be very endearing).

Alright, I'mma point out a few other things real quick:

Ozzie's relationship with Fizz is absolutely adorable and I love them so much. However I don't understand why they portray their relationship as a bad thing? Like, fucking Queen Bee is dating Vortex (who's a hellhound, and they are a lower class than imps) and nobody says anything and she's a sin- so why can't Ozzie do the same??

I also happen to noticed that Fizz and Mammon's relationship is similar to Angel Dust and Valentino's- I just hope they don't completely butcher my boy Fizz, because he's the ONLY character I genuinely like from this god awful series.

Edit: I find it outrageous that Fizz apologized to Blitzo in the previous episode for the accident and claims that yes, he was affected by it but he's gotten over it. Yet here, he's super insecure about it and seeks approval from Mammon. It doesn't make sense- I swear it's like the characters are evolving backwards (as in the character development just resets and they act like nothing happened).

I also just wanted to say that this character made me feel super uncomfortable throughout the episode (which I guess is the point, but honestly they didn't need to add him.) Like, was it really necessary to include this Reddit mod, Discord user incel with an obsessive personality to the episode? He doesn't really contribute much other than to probably trigger people who have dealt with some form of harassment like this, and to make Fizz look super helpless so that Blitzo can defend him.

Blitzo didn't contribute anything to the episode, they didn't need to add him either. Like we get it he's the main character but that doesn't mean he has to be in every fucking episode doing absolutely nothing other than saying a bunch of curse words or shooting someone.

In conclusion, I didn't like this episode that much. I was expecting more to be completely honest.

Sorry if this post was a little long- I wanted to write more stuff but I don't want to burden y'all with reading a lot of shit lmao. Anyway, that's all, love ya <3

[bigtittiecomitte]

So I’ll explain about my last post

Honestly there are two characters that I was thinking of when I made it and that’s Doll and V

They’re good characters but there is one issue that I see people overlook or just excuse

Doll - For Doll it’s about her wanting to avenge her parents. Which is not what I’m talking about, I’m more talking about how far she went to make that her goal. She wants to kill V to avenge her parents, that’s her goal but a bunch of drones got hurt and even killed because of Doll’s obsession with killing V. I don’t see a lot of people talk about that but I always wondered why the heck she even thought to kill those drones at prom that were just running away. Her goal at the start was to kill V but it ended with her probably killing V and many others

V - V’s definitely the character I mostly think of when someone mentions a fanbase that would excuse bad actions. This one I’m talking about is especially her relationship to N and her trauma

So people probably already know that I’m obsessed with puzzling N and V’s relationship just bc of how complicated it is but also how it’s the most perfect example of being in love with someone who changed and you might not like those changes

I see a lot of people excuse her behaviour towards him sometimes I don’t think people even remember just how bad she treated him

Just a list of the things that she did to N throughout the series so far

1. Pretending to not know who he is, even to the point where he thought that she didn’t even know his name

2. Wanting to literally kill him in the pilot

3. Letting J abuse him (for this one it’s not clear on what it was like before Uzi showed up but judging by the scene where Uzi leaves, you can see that she let J abuse him)

4. Making remarks that would make him feel even worse (mental abuse?)

5. Beheading him

6. Insulting him

7. Physically assaulting him

8. Ignoring him (which could also be apart of Number One but even then she still ignored him throughout the series)

9. Trying to kill the one drone that he cares so much about

10. Keeping secrets from him and just not communicating at all

Yeah that’s pretty much it maybe but I always see people excuse this as her protecting him

The difference between N and V is that V remembers everything that happened in the mansion while N didn’t. It’s why with how V treated her trauma, N and V could never be in a relationship again

V has trauma and that is something that’s pretty clear but yet again it doesn’t give her an excuse to be like this to someone that she cares about because that will just drive him to go to someone else who treats him better than she has ever since in the mansion

People who excuse her behaviour towards him as just being protective doesn’t understand that and doesn’t understand that hurting your loved ones and hiding stuff from them is something that’s really harmful for your relationships

It’s the reason why I absolutely loved N snapping at her in Episode 4 because while a lot of people have said that N went too far I beg to differ

Not only did N have the absolute right to stand up for himself after being mistreated so long but it’s also an important scene for not only V’s character development but also N’s. That scene gave V a realisation on that if she continues treating him the way she has then N will not be bothered to be around her anymore now that he has Uzi

V’s not a villain absolutely not, she’s just someone who went through a bunch of trauma and didn’t know how to treat that but it still doesn’t give the right to do what she did to N because they all went through the same thing it’s just that V remembers it and N should never feel like he didn’t matter because he does, everyone does

V obviously does care about N and he does for her but they’ve both changed, quite literally. It’s why they can never go back to being those silly worker drones that were in love with each other because people change and it’s ok to be uncomfortable with that

Let’s hope that if V does live then N and V can talk it out and actually be friends, no romance whatsoever, just friends because them having a romance now will just make them miserable

On Tiktok I saw a bunch of people say that N and V should be together bc they’ve known each other longer but that’s not how romantic relationships should be

It should be on how healthy it is and how it would affect your mental and emotional well-being not how long you’ve known someone for

Anyways that’s my explanation on it all boobies

[rien-maz]

And so I, avoiding all spoilers, finished my business and finished watching the "miracle" called "Acolyte". This post will be a subjective point of view, i.e. mine.

Make some tea, because this is going to be a BIG post.

Where do I start? Oh yes, the one that angered me the most - let's start with the characters, specifically their roles, backgrounds, and everything else on the list:

First off, the main characters are flat ( and I don't mean their shapes, they're fine).

One of the main characters, Osha, is striking in her lack of emotion. In the first episode we can still see her surprise at being accused of killing a Jedi, and we also see the changes between her child version and the adult version, but then she doesn't develop emotionally, sensually or physically. She doesn't learn anything throughout the 6 episodes. It feels like all the events pass her by and all we learn from them is that she hates her sister. But then again, she has no reaction in the first episode where she learns that Mei is alive and has killed a Jedi.

She also doesn't have much emotion for Saul, her old teacher, as if she doesn't care if he's there or not. When she sees the deaths of her two friends Jackie and Yord, Osha doesn't change a bit. You could write it off as all her thoughts being preoccupied with her sister, but no. These are the people closest to her, the ones she referred to in her conversation with Mei in Episode 5 as her family.

Throughout the 6 episodes we don't see an ounce of bitterness of loss for her family, although in episode 3 we are shown that she was very close to her mom emotionally. Osha doesn't develop as a character in any way. She was the same in both series 1 and 6. By the way, the same goes for Mei, but at least there's some character growth there

Mei, both as a child and as an adult, looks out for her own interests and that doesn't change even in Episode 5. Unlike Osha, Mei reacts to events around her, but most of them have no effect on the character herself. I can basically say the same thing about her as I can about Osha, but at least she has a small step of development: leaving the master and deciding to surrender to the Jedi. Subsequent events after that decision drive her into conflict, but Leslie Hadland killed those saplings of development in a scene where Mei changes into Osha's clothes and continues on her original path.

Jackie was in my opinion the most adequate character in this product, but just like with Osha, she doesn't react emotionally to the events that happen around her. She just acts as a supporting or supporting character because she doesn't play any special role in the main character's life. Jackie is not revealed as a character in any way. Other than her name and her affiliation with the Order, we don't know anything about her. We don't know her motivation, her principles, and so on. Just a character created for the crowd.

The same goes for Yord, who dilutes the plot with his goofiness (more on the plot later, for it is so raw that it is "bursting at the seams"). Like Jackie, we don't know anything about him. No, we know that he's an old acquaintance of Oshi's, who apparently doesn't care about the main character either, and that he has a great athletic body, which is so important to the plot. He's also just like Jackie a character for the masses and nothing more. He as well as the padawan don't play much of a role.

Saul. This grandfather is only pitiful because he is constantly "whining" and apologizing. He doesn't evoke, at least for me, any emotion other than pity. I don't know what Leslie Hadland was trying to achieve by creating such a character, probably she wanted to make a "martyr" in his image, which is either the image of a "little man", like Nikolai Gogol in the story "The Overcoat", or Alexander Pushkin's "The Station Keeper", where, like the main character of the story, Sol finds joy in his former padawan Osh.

The main antagonist of this product single-handedly saves the picture, out of a total of 6 episodes so far. Throughout the 5 episodes this character acted as a mystery to many, but to me, as soon as I saw him on the screen in the form of Mei's assistant, it was immediately clear who he was (thanks to the documentaries about maniacs from "Criminal Russia"). In fact, he was the only one who kept the intrigue going for 5 episodes.

And yes, the scene where he bathes naked in the water was very necessary in the director's opinion, because look how handsome Sith is. And cubes, and breasts and charisma in general hot man. And seriously, unlike with naked Yord, this scene was acceptable, because the main villain was unarmed, but still showed his power of persuasion. you could do without it, of course, but thank you for the beautiful man in the frame, who is the only one who carries the plot on his shoulders.

And so, we've dealt with the characters, let's move on to the next thing - namely the plot. This is an interesting thing, because I've never seen such predictable plots in my life.

So here it is: the plot is bad in that it is not finalized. It feels like the authors of this product came up with some super duper ending, and then remembered that it turns out it is necessary to write the whole story for this. But about everything in order. Let's go by series, because the first two episodes are the worst in this series at the moment.

The first episode starts by introducing us to the events, i.e. a lone assassin that has come to take revenge on a Jedi. Well, you decided to show us a killer that is ready to take someone else's life, but you chose a cool outfit: hair is open, face is covered by a mask only half, the hood she throws off, allowing people to see herself, and also leaves a witness at the scene of the crime. Well done, good killer. The bar fight scene itself I could describe as "what is this?", because the Jedi just stands and watches Mei scattering the customers, although we know from the same movies and clone wars that the Jedi immediately draw their swords and try to calm down the troublemaker, but no, we had to demonstrate Mei's strength, to show how cool she is.

We'll come back to the scene with the blade in his chest later because it made me laugh, but for now let's move on to the Osha indictment scene:

First point: how fast your ships fly. In the clone wars, poor guys spent cycles to get from one planet to another, and you're teleporting at plus ultra. What's my point? Yord himself said that Osha was VERY far from Coruscant, but they miraculously got there in a matter of minutes. Reminder: the actions of the first two episodes are 3 days apart in the story, so either I'm missing something here, or they abruptly lost such powerful ships during Palpatine's reign as Chancellor.

The second point: how accurately everyone remembers the face of our lone killer, although, if we take real life, people in stress can tell about the appearance of a person only in general features, to how few can identify the attacker in the exact features of the face, but we will omit this point.

The third point: physics comes out of the chat room or, to be more precise, out of Acolyte. Shchas will be a bet from the Internet, because I was not lazy to google it to convince myself of its correctness: "During experiments with fire on board the ISS, astronauts realized that fire does not behave exactly the same way as on Earth. Fire in space burns very differently. It burns with great difficulty, and it is even more difficult to ignite".

So, "F" for physics Leslie Hadland. And one more "F" for the living and not wounded protagonist, because the ship exploded into wreckage, and Osha was sitting near the nose of the ship, and not a single scratch on her. She was running away from the Jedi so vividly that no one would have believed she had just survived a spaceship crash. Another "F" for the equally lively Osha, who lay all night on a planet of snow and ice and didn't freeze her limbs off, even though she should have gone to the Force from being in light clothing in the cold for so long. Now I've led you smoothly to the technique that our "dear" Leslie used: the unkillable protagonist. Of course, she's the protagonist, we can't kill her, even though she should have died several times already for obvious reasons.

Fourth point: we haven't had a chance to get to know the character, and they dump his whole life story on us. Why? Why? There are no answers to these questions, but I'll explain the disadvantage, which is probably obvious to you already: we can't sympathize with the hero in his pain and loss, because we haven't had time to feel for him. We've literally been dumped a "heartbreaking" story and told to "sympathize with Osha, she's so miserable." No, Leslie, it doesn't work that way. With both Osha and Saul, we're immediately laid out the characters' pasts when we first learned their names. And while we can still sympathize with Saul in Jackie and Yord's murder scene, I'm sorry we can't, because as previously stated, she's a "flat character."

Fifth point: the writers of the product forget what they wrote originally. In the first episode, we are shown Mei killing a Jedi with a dagger, and later, our beautiful antagonist tells us that "Jedi cannot be killed with blade or sword." Okay? Okay? That's interesting, wow.

Sixth point: as mentioned in the first point, the plot runs at breakneck speed. Combined with all of the above, it's already hitting the plot pretty hard, which is as cliched as possible: two sisters were separated in childhood by events and now one is trying to reunite and the other to kill.

Seventh point: the Jedi have forgotten all their skills and only one of them uses the force normally and that's Saul. Why would I say that? Because the Jedi forget that they can sense other people with the Force. If they remembered that, Mei wouldn't have been able to kill two Jedi so easily. Oh yeah, Jedi do have telepathy, but Mace goes to hell with saying that they can only read minds and memories by diving into someone else's head, which requires a good ability to use the Force. And also that Jedi can only hear out loud thoughts and feel emotions and then empaths or telepaths can do that.

And if we remember the scene in the Clone Wars where Mace, Anakin and Kenobi "talk" to Cad Bane, the immersion into someone else's mind for a person who doesn't want it is accompanied by pain for the person to whom the action was directed. Yes, Leslie, it's worth familiarizing yourself with the universe you're doing the series in.

Eighth point: Leslie Hadland attempted to use the Chekhov's Gun technique, which refers to the dramaturgical principle that every element of the narrative should be necessary and non-essential elements should be removed. This can be seen in Osha's vision scene in the first episode, where she sees her sister, who says that she is alive and that she is going to kill more Jedi. This hints to us of the two sisters meeting after 16 years apart. Yes, you're good, but with the fact that the story asks the viewer a question and then answers it a couple seconds later, it doesn't work. I mean, the scene where Osha is led to the Prison Ship in handcuffs, followed by the scene with Saul's monologue about how what our eyes see isn't always the truth. In other words, in the first two episodes we have already been told the story that will go on, because of which we can watch further only because of the handsome Sith, nothing more.

I could say more about swords, but I've said too much already, so we'll summarize.

As I said earlier, the plot is as predictable and, frankly, raw as possible. It has many moments of incomprehension and outrage. This is especially outrageous for me as a Star Wars fan (I've been watching since I was 6 years old, even though I'm of legal age)

As a result, what we have: a predictable plot with flat characters, sexualization of men and a bunch of clichés. Oh yes, and physics, which was sent far away.

Remember that in this post I only wrote my opinion on the series. If you like it, that's strictly a personal matter and each of you is fully free to have an opinion that differs from mine. I just wanted to express my indignation and point out the mistakes that I saw in the series while watching it.

That's all.

[being-of-rain]

In the days before The Legend of Ruby Sunday, I thought to myself 'RTD did a lot of big bombastic series finales in his day, and always with Classic Who villains. But that was fifteen years ago. Maybe he's mellowed.' Dear readers, he had not.

Here's my thoughts on the episode! But fair warning, they're mostly that it was just okay. I mean it was fine. It was a fun, mindless bit of build-up and spectacle. Of course it was very much a Part One, so a lot of my thoughts are just 'I wonder where this will go next episode.'

Firstly, I don't think I'm a massive fan of RTD's method of story arcs, which is to sprinkle references to something throughout a season that'll be part of the final story without much elaboration. It feels less like a story, and more like a drawn-out teaser for the finale. And continuing a trend that started in RTD's last full season that I'm not crazy about, there was so many arcs and plot hooks too. Before the episode my brother and I listed as many we could think of, and it actually addressed almost all of them, plus one or two we forgot about or thought wouldn't come back. It started to feel like the characters were ticking off a shopping list of questions. And I know that these things basically just exist for fans to speculate about. And I can't pretend I didn't have fun joking and memeing about all the arc elements with other fans. But as someone who both isn't really that interested in genuinely theorising about how a series is going to end (odd for a Dr Who fan, I know) and who really likes story/character arcs that develop over time, I guess I'm just not the target audience. This season the arcs have pricked my curiosity, but not much more than that - except make me wish they did more with the supernatural elements than a few badly-conceived gods and the cool fairy circle episode.

Anyway, Sutekh! In the last few years the TV show has done the Morbius Doctors, Beep the Meep, the Toymaker, the Shalka Doctor... I really shouldn't be surprised by anything anymore, but I still sit in bemused shock when a finale revolves around Susan and Sutekh. And that is pretty fun. We had basically nothing of Sutekh this episode, so I'm very interested what the next episode will do with him.

I'm especially curious how much it'll dip into the Egyptian mythology aspect. Because on one hand, Pyramids of Mars is sorta built on the problematic and awkward trope that aliens at least inspired Egyptian culture. On the other hand, I think the Egypt link & aesthetic is a big part of Sutekh's identity as a villain/monster. I remember being bored when Big Finish tried to divorce him from it in their latest audio with him (but tbh I trust RTD to at least do a more entertaining story than that, even if he's boiling Sutekh down into simply a God of Death). Similarly, I think a really big part of why Sutekh made a big impact on the original Dr Who fandom is how he was a genuine overwhelming threat to the Doctor, something that probably won't be as big of a shock today. But the final part of Sutekh's identity is Gabriel Woolf, and he's absolutely as entertaining as ever.

As for Susan, after all that drama it'd almost be stranger if she didn't appear in some form in the finale. I'm wondering if Mrs Flood is Susan, something that's really weird to say seriously after thinking people were wrong about her being an important character for 6 months. At the very least I really hope they give Carole Ann Ford some kind of cameo, because it'd be such a missed opportunity if the very first companion actress was still alive and they didn't do anything with her.

What else? Mel continues to be lovely, and I continue to wonder if there's any reason it was her in particular who was brought back or if it was just to have a classic Who companion hanging around. Rose continues to be precious, and her instant bonding with Ruby is just adorable. I missed Ruth Madeley's Shirley, I assume it was filming conflicts that led to her being replaced by a preteen? When Harriet was introduced I distinctly remember thinking 'oh she's cute, I hope she sticks around.' And the Vlinx continues to have 1-2 lines and no explanation.

The VHS-powered time window was an extremely cool concept, but I feel like it didn't look as good and distinct as it could have. I'm not totally certain what I'd have done different but I still felt underwhelmed. And I'll say something I've said a lot, but I wish there was at least some vague rules to things like the time window. I don't care about scientific accuracy or real life logic, only narrative logic; if anything can happen with only a bit of poetry to justify it, the stakes and losses and victories aren't nearly as satisfying.

And this might make me sound like someone who looks for anything to complain about, but I feel there's something off about how UNIT is depicted recently. Like it's being glorified and simplified as 'the good guys' maybe more than it has any time before in the TV show's history. And it feels especially awkward when some of the UNIT characters are armed and armoured soldiers. I'm just very not in the mood to heroise someone who I might see committing war crimes on the news, you know. So I'm not really a fan of this version of UNIT and how it's consuming so many past companions.

Anyway!

Mystery Woman 1 (Susan): Sutekh. Mystery Woman 2 (Mrs Flood): Susan? Mystery Woman 3 (Ruby's mum): At this point I have to assume it's the Rani or Iris Wildthyme or Gillian Who or something.

[shychick-52]

Headcanon

The main reason Cedric was always so deeply reluctant and resentful to help Sofia (and even the other kids, including her friends) in the first two seasons was really because of the Incident from his childhood. He'd developed a real "No good deed goes unpunished" mentality ever since then. He once tried helping his sister make her big entrance at her ball special, and look what happened. So, ever since then, he wanted nothing to do with helping others (unless it was on the king's orders, but that's different) or doing good deeds if asked (and certainly never voluntarily).

Even though he always knew the Incident from his childhood wasn't his fault, the pain of everyone in the kingdom- including his own friends and family, those he thought he could trust- immediately turning their backs on him and treating him with lifelong contempt/ridicule over what they perceived was a mistake (and refusing to even believe it wasn't his fault) never left him.

It was to protect himself, a defense measure, similar to why he also emotionally distanced himself from everyone. So, as part of how he masked his insecurities, he acted like it was a waste of his time or like it was a huge bother for him to help Sofia. But it was really his fear that if something went wrong, whether it was his fault or not, Sofia would immediately turn her back on him too. And she was the first one in so long to have such faith in him and his abilities, consider him a friend, and treat him with such kindness and support; it probably both terrified him and meant so, so much, and he knew it would make it all the more painful if one of these days she too changed her mind about him if something went wrong when helping her... especially the closer he found himself getting to her.

In fact, Cedric was probably shocked at first that Sofia constantly had so much trust in his abilities to keep relying on his help (when everyone else didn't think he was capable of anything and saw him as a clumsy bungler), because he was not used to that.

But gradually, the more he helped her, the more he realized he genuinely enjoyed it. He realized it felt great, like how it felt when he was so eager to help Cordelia all those years ago. He slowly realized he was good at doing good. Nothing bad happened. And Sofia and her friends, and even James and Amber, saw him as a good sorcerer (he began to realize he was earning others' respect and appreciation without seizing control of the kingdom). Best of all, he had a true friend in Sofia.

I think Cedric seemed especially reluctant in s3's 'Cedric Be Good' because even tho he'd already been gradually learning from Sofia about how rewarding it is to help others throughout the show, he'd never had to do so many nice things for others all in a row (of his own choosing to, no less, even tho it was technically for selfish reasons) like in that episode, and it intimidated him more than any time Sofia asked him to help.

And because he always struggled with his whole 'no good deed goes unpunished' trauma, that's why he told his mom in 'Cedric Be Good' he doesn't know the first thing about being good (despite all the good he already did during the series). He was still scared to wholly embrace it, because he was still scared something would eventually go wrong and it would be the Incident all over again.

And 'Cedric Be Good' very cleverly showed that he is far better at being good than evil. Every time he did something nice for others, people would be happy and he'd be granted a power from the amulet, but every time he did something bad he'd be cursed. I love the subtle symbolism! And by the end of that episode, he truly reached a milestone in his character development/arc (especially when he returned her amulet; he did it not only to rid himself of the last horrible curse inflicted on him, but also because he truly realized how much it would mean to her, so a big part of it was from his own heart).

@bettathanyou @fantadym @moonypears-blog @mushroomsie224 @majoresca @ushsblog @sweetmariihs2 @cedric-my-beloved

[homeofthemany]

jack's family & his relationship with kai

the parents in kickin' it as a series are generally not mentioned at all, or they're mentioned for concerning jokes. you can take it as them being somewhat absent depending on which main kid we're talking about, but it likely comes down to kickin' it being a show for young teens that wants to follow other young teens around—not their parents, but other weird wacky adults.

most of what we can gather about each character's family is either said in passing, as a joke, or implied through other things. i think it's fair to say that jerry has some of the more remarkable examples like being raised by wolves [1x03], having too many siblings / cousins to the point where he's being neglected & sleeping in a locker [1x17], you get the idea. but we actually know very little about jack's family & he's arguably the main character of the show.

very long analysis incoming! also i don't remember season 4 very well, so if i'm missing something, whoops. i'm going to drift into some darker territory [abuse, specifically] so if you're triggered by that or are of the "it's a kid show it ain't that deep" opinion, this probably isn't the post for you lol.

again, TW for general discussion of abuse—physical abuse & neglect in particular. it's very light & i don't go too far into detail, but just in case.

jack's parents

going strictly off of canon, jack's parents themselves are only mentioned once or twice. if i remember correctly, "a slip down memory lane" [2x15] is our most direct mention of them [i forgot if they're mentioned in 2x14 when he's about to leave for otai academy lol] because rudy says that they're out of town, having called them after jack gets a concussion and develops amnesia; they don't think it's necessary to head back and take care of him?

it's worth mentioning that depending on their circumstances and where exactly they traveled, they might not be able to make it back in time to help him with his recovery. in real time though, jack probably wouldn't recover in just... 30min-1hr? since memory recovery can take several days depending on mechanism of injury? not even talking about the actual concussion, by the way, which could take longer on its own. but i'm not a doctor lol. so to be fair, last-minute traveling isn't exactly necessary if they truly trust rudy enough to watch him until they get back.

on the other hand, it's odd that they didn't want to stick around to watch him break the world record in the first place, so it makes me wonder if he'd even told them he was training to accomplish that—and if he did, whether or not they chose to leave seaford anyway. at best, jack's parents are vaguely absent, and at worst, they're negligent.

we're also not given any clear evidence on whether or not they're supportive of his martial arts. we can assume that they're at least aware of it since it seems to be a family tradition of some kind ["my family were really embarrassed of kai," - jack 1x19], but they're never really shown to be openly supportive like jerry's family, or initially disapproving like milton's dad until he comes around in the pilot.

we see jerry's family, milton's dad, kim's dad, eddie's mom, & rudy's uncle, but don't see jack's parents once throughout the entire series. the only relative of jack's we get to actually meet is one he has a very negative experience with.

also he literally goes to china for a tournament he'd been "dreaming about since he got into martial arts" without them there to watch his fights. actually all of the kids go to china without their parents!! AND THEY LET THEM GO WITH RUDY LMFAO. but speaking of china!

jack, kai, & their grandfather

...assuming that jack & kai are first cousins. lol.

we know that jack has a cousin who beat the shit out of him two years prior to the episode we meet him in [kai, seen in 1x19 & 3x09], and he also has a grandfather who trained one of the biggest martial arts action stars in the kickin' it universe [mentioned in 1x01 & 1x06; oh, bobby wasabi the character that you could've been].

other than that, we don't have much else to go off of other than his line about his family in general being embarrassed of kai. because of that, i'm going to assume that the fight they had was part of some kind of family event / tournament. with how skilled jack & kai both are, as well as how skilled & respected his grandfather is [assuming he was at least somewhat famous for training bobby], it's not a stretch to assume that training in martial arts is very much a family thing, or at least is highly important to the majority of them too.

to look at jack's relationship with kai, we're going to drift out of canon while looking more towards his grandfather & how they were both trained. this is where the abuse part comes in!

although there is no real canon evidence of this because it's a kids show, i think the idea of jack & kai having a very strict and unforgiving grandfather is a very interesting one to consider. i don't think i have to go into detail here, but i can imagine jack & kai being overworked & overtrained, experiencing a lot of negative reinforcement, & potentially being physically punished for not getting things right or mastering things at the pace he wanted them to. i think he would push them past their body's limits & be either satisfied or disappointed depending on how well they'd perform afterwards.

back to kai, it's interesting to me that jack doesn't talk about his family's reaction to his supposedly devastating loss to kai ["a kid named kai beat me so badly, i gave up karate till i came here," - jack, 1x19].

it seems like kai isn't necessarily considered better than jack despite winning the fight. it would be easy for a kids show on disney to make it a "he won & got all the praise, but he cheated & my family never believed me so i want to prove myself to them / find my own closure" plot, but the conflict between jack & kai is completely personal. their family probably tried to forget the match ever happened, or more likely, regard it as an event that should just never be brought up again because it was so disturbing and / or tragic—or worse, they thought it was disappointing.

kai didn't gain any respect, he just won the fight. in fact, his presumably violent win is what got them cast out in the first place.

jack & kai are childhood rivals who would likely be competing for their grandfather's praise, so as a result, kai takes things too far to prove himself and seriously injures jack during the match that he lost. rather than gain his family's approval, though, kai's display of aggression gets them both exiled; they look down on jack for losing to "someone like kai", while also disapproving of kai's brutal & undisciplined display of power. jack shamefully gives up karate [i have other thoughts about how something like this would traumatize him] while kai continues to train, but now has even less of a regard for maintaining his "honor". if it wasn't about hurting people before, it certainly would be now.

small thing about their match

i'm more interested in how exactly kai won against jack LOL. i feel like there's a certain point where their sensei has to decide "okay, this is going too far", but then again, if we assume that their grandfather was the one to set up the match? ouh. he already wasn't training them in healthy ways, so he might not have bothered to stop them. did somebody step in or was it already somewhat of a dirty match to begin with, just so he could see how far they could push themselves? because neither of those stubborn students would tap out themselves.

after a certain point, i think their grandfather would probably step in but less because of jack's injuries & more because of kai losing his form. we've already established that he trains these poor kids to hell and back so i think that if anything would get him to call the match, it'd be something like that.

in conclusion

hooray, traumatized disneyxd characters! i was going to do a breakdown of "kickin' it in china" here too & what it must've been like for jack to face his past while fighting for his future, but then i realized the post was getting too long lol.

[inspector-montoya-fox]

let me hop onto this kinda underrated but definitely outdated post for a minute and ask: did Dr Michael PhD know about Clockwerk? it's not like i want the owl to be the ultimate catalyst in Sly's life - he was the end-all be-all for two games, it was time to move on for sure - but at the same time murdering an entire lineage of raccoons isn't um something you stumble upon everyday ?

i know how enticing it can be to want to connect all the dots when writing sequels and i'm so happy SP didn't pull a Roman Bridger told Billy Loomis to become Ghostface with Clockwerk and Dr Michael. actually, when you think about it, Sly 3 resists the urge to bring up Clockwerk in any way, which is very respectable. the way the game connects to the other two is through the aftermath of ClockLa (which is hardly mentioned) and returning villains as new gang members. if we removed those from the equation, Sly 3 could be a standalone entry. it's a very refreshing game after, again, two games that centre around Clockwerk and his subsequent resurrection but it's also a bit jarring to think that he is barely (or not at all?) mentioned during a game that involves two characters who worked for him as well as one who used his own tail feathers. at times it feels like the game is deliberately going out of its way to tiptoe around the subject.

personally, Honour Among Thieves left a lot to be desired, especially as the final episode not only of the game but of the series. more specifically, i love Dr Michael's conversation with Bentley so much but i feel like it was too little too late. i get that it acted as a climax for the 'Bentley wants to step out of Sly's shadow' storyline but the conversation gave birth to so many huge implications that it felt like we were just then getting to the juicy bits. why does Dr Michael have such vitriol for ConnEr Cooper? what happened between the gang members? was ConnEr truly a piece of shit or is it all Dr Michael's perspective? did every Cooper have a Bentley and Murray figure in their life?

whereas the player got to know Neyla through her various appearances throughout Sly 2, Dr Michael's character development is put on pause due to the fact that Sly 3's episodes aren't interconnected via the common thread of "a gang of villains". as a result, many questions arise in the final episode and never get answered. one of them being: what's his connection to Clockwerk? as highlighted in the paragraph above, there are other questions that are easily prioritised over this one because they are pointed at during the conversation with Bentley. that being said, it feels a bit bizarre for Dr Michael to not even bring up Clockwerk once. when he first sees Sly he thinks it's ConnEr, which raises the question 'does he even know about Clockwerk murdering ConnEr in the first place?' that's definitely one possibility. the gang dispersed and when ConnEr settled down as a family man, that's when Clockwerk came into the picture. ok! probable scenario...

... but idk i'm not really buying it. i don't want to be the tin foil hat girlie and i'm truly not, like in terms of narrative logic it makes total sense. but from a consistency standpoint, how can you create a character that is actually portrayed as more of an omnipresent, all-powerful entity, the literal embodiment of evil, to then just have him go *poof* ? Clockwerk is the stain on the Cooper legacy, the Cooper killer and Dr Michael, who prides himself on hating ConnEr so much, has no idea who he is? the evil scientist who is infatuated with the Coopers and creates animal hybrids doesn't know about the owl robot that survives on Cooper hate? mama what are the odds. again, i'm against trying to unnecessarily connect all the dots, but even a mention would suffice. cutscene appearance even. like what if Dr Michael acted as this Judas figure who approached Clockwerk post gang breakup and spilled on how to track down ConnEr or some sort of secret? it would also help flesh out Clockwerk's character posthumously, which i find so clever. this is something discussed on the new episode of Safehouse Chats btw (shameless plug-in sis), where we debate whether or not Clockwerk benefits from being shrouded in total mystery. as for my initial question? i think Dr Michael bottomed for Clockwerk. block me