#i didn't realize there was a parallel of sorts there

[crossdressingdeath]

One thing I will say for the ending of DAV is that it's made one thing from Trespasser that always confused me a bit finally make sense: the fact that Solas spares even low approval Quiz. Like, the fact that he does that means that affection clearly doesn't come into that decision! He may be nicer about it if he likes Quiz, but he's not sparing them because he likes them. But it makes a lot more sense in the context of him making an enemy of Rook and then leaving them alive when he meets them in Minrathous, just assuming that they'll do what he wants and not get in his way and being completely blindsided by them tricking him even though they have no reason to just go along with what he says. At the end of the day Solas just... doesn't respect either Rook or Quiz enough as equals to see them as a potential threat, and that both explains him sparing Quiz and ultimately leads to his downfall.

I mean, think about it. He killed Mythal. He killed Felassan. Clearly he is not above killing even the people he loves best, the very last remnants of the world he's supposedly in this to save at that, if their survival might get in the way of his plans! You can talk about how much he cares for high approval Quiz, or even how much he loves Lavellan in a Sol@vellan (censored to keep it out of the tags) worldstate, but love demonstrably would not stop him if he determined Quiz to be a threat! He does not love them more than Mythal (he really, really doesn't love them more than he loves Mythal, Christ on a bike the amount of shit he does for Mythal and then refuses to accept her culpability for the fallout of is insane), he does not love them more than Felassan, he does not have more reason to spare them when they say they're going to stop him (whether peacefully or by force) than he did those two, but he still does even if he hates them. Now Solas doesn't like killing (he just has no concept of what counts as actual necessity or willingness to stop when he's going to kill most of Thedas), so it makes sense he wouldn't want them dead if he could avoid it, but if he saw them as a threat he would not spare Quiz where he didn't spare Mythal or Felassan. He's not going to spare a Quiz he hates who's vowing to stop him at all costs where he killed the last remnants of the world he wants to save... unless of course he doesn't think they actually can stop him.

And him not thinking they can stop him makes sense when you his response to Rook, who breaks out of a prison Solas thought was inescapable and by Solas's own admission gets further in dealing with the Evanuris than Solas ever could have himself; he still just completely dismisses them as a real threat, takes no steps to prevent them from turning on him, has no plan for if they find out what killing Elgar'nan will do, and is caught completely off-guard if they trick him with a fake dagger. He sees Rook surpass his every expectation and do better than he himself ever could have, and he still completely fails to realize that they do in fact pose a threat! I do believe that he on at least some level can grow to respect and even care for Quiz and Rook as people who exist, but he always thinks he is ultimately above them. He totally fails to see them as potential threats, and that's what ultimately leads to his downfall: if he'd preemptively killed Quiz at the end of Trespasser, or killed Rook the second Elgar'nan fell and they were no longer needed, or even just made any sort of plan for what to do if either or both of them were in fact the threats they made it clear they intended to be he might very well have won! But his unbridled arrogance and refusal to accept that a mortal could ever outdo the Dread Wolf ultimately gets him locked in the Fade (including the ending where he goes willingly, which only happens because Rook faces down yet another god to make it work). It's a very fitting end for someone who muses about the parallels between him and Elgar'nan and him and Rook and fails to consider what it might mean for him when Rook fully steps into his place in the narrative.

[sibillascribbles08]

A while back my first ever post for rottmnt was about how Donnie died in the bad future so now what if I wrote about how Raph died

Some quick notes for context:

I hc Casey Jr. as trans. His given name was Arum (after the toxic flowers yes) so he’s still referred to as such during this. I hc Raph as??? definitely not cis and Cassandra often uses she/her pronouns for Raph while Donnie often uses he/him

Added commentary in my tags if u want it uuuuu okay have fun????

Donatello could accept dying.

He’d come to terms with that ages ago, not long after they got thrown into this war. Despite all the measures he took for safety, defenses, he always kept it in the back of his mind that any number of things could kill him and that would just be that.

He couldn’t, however, accept that Cassandra and and his niece would die with him.

What a mess and a disaster. All it took was one Kraang hound following a squad to this base for the army to show up. They had an alert, at least, a heads up. Most everyone escaped.

But two year old Arum was harder to find. Donatello and Raph both stayed behind with Cassandra to find her, where she’d tucked herself away, while Leo and Mikey took care of setting up their backup base.

Donatello wouldn’t admit half his motive for staying was to, potentially, set off the self destruct sequence to put a dent in their numbers.

But so much for that. Cassandra’s leg got injured. She was against the wall behind Donatello, holding Arum in her arms.

And Donatello couldn’t move. He just stood there, staff out, his magic tech projecting a shield into the open hallway to stop the enemies from getting in. By now there were so many of them, too many. Kraang hounds, corrupted humans, and other flesh like monsters all pressed against the shield, adding to the pressure.

Donatello knew it wouldn’t hold forever. Knew if he tried to do anything else the shield would fail and they’d be overrun in seconds. How was he supposed to get them out of this?

Where was Raph? Already gone? That thought put a vice grip on his throat, almost squeezing out a sob.

Donatello wanted his big brother.

He didn’t know what to do.

The room shook. A sharp crack came from above. Donatello turned his gaze to see the concrete giving way. No no no. Were they going to bust in from there too? Donatello didn’t have time to make another shield.

Another crack. A huge slab fell from above. Dust exploded into the room but Donatello refused to drop his shield. Not yet. Not yet.

“Cass.” Raph’s voice rang out through the room. “Donnie!”

Donatello watched his big brother first run to check on his wife and daughter. His breath shook when he exhaled, so relieved to see him, but he kept his concentration on his magic as the kraang tried to put another dent in the shield.

“Cass, are you okay?” Raph spoke from behind.

“Fine. Had worse. Take Arum and get out of here.”

“You’re both getting out of here.” Raph insisted. “Donnie--”

“Take them and run.” Donatello interrupted. “I’ll keep buying you some time.”

“I’m not leaving you here either, Donnie.”

“You don’t have a choice.” He snapped. “The second I drop this shield we don’t have time to escape.”

He waited for some final words, or another argument. Instead there were some quiet whispers from Raph, probably speaking to Cassandra, then the sound of a gentle kiss.

Donatello glanced back at the shifting of rubble, seeing Raph approaching him.

“We have to get you out of here, Donnie.”

He glared at his big brother. “No you don’t. If you try then none of us are getting out. Just--”

“You have to get out of here.” Raph insisted. “Without you, your tech, the resistance is dead in the water. We need you, Donnie.”

“You will figure something else out.”

“No.” Raph hardened his tone. “There has to be a way out of this.” He glanced at the shield, at the wall of monsters just behind it. “Think you can make that thing just a bit smaller?”

“What do you mean?”

“Small enough to fit down the hall. Then I can punch it, send all of them back. At least long enough to give us a chance to run, right?”

That seemed stupid, insane. “Raph, it would insure your family’s survival far more if you just--”

“Donnie, trust me.” Raph held his shoulder. “We’ll get you out of this.”

Donatello didn’t want to listen. Why couldn’t Raph just take Cassandra and run?

“Fine.” He sighed. “Get ready.”

Raph’s ninpo already flashed around his fists, light trailing up his arms. It glowed bright, hot, like it often did these days when he wanted to increase the impact of his strikes.

Just as his big brother rushed toward the shield, Donatello let it shrink down. Pink tentacles and teeth tried to worm their way through the gaps, but a second later Raph hit the shield.

The impact sounded like an explosion. The entire thing rocketed down the hall, taking the monsters with them. The edges of it shredded some of them, smearing flesh and blood along the walls. Donatello held back the bile in his throat as he finally released his magic.

“Go help Cass up.” Raph told him, keeping an eye on the hallway where some of the creatures were already screaming as they approached once again.

Donatello rushed over to Cassandra. He hoped to see her relieved, or at least angry at this whole ordeal.

Instead she looked horrified.

“Donatello.” She shouted at him. “You idiot.”

What? What was she talking about? He followed her gaze, back over to Raph.

The devices seemed to fly toward him in slow motion. Two of his escape pods, the things he hadn’t brought with him because he’d given them to all the other people on base.

As soon as they got close enough they sprung open. Metal clicked as it shifted into place. The belts shot out, grabbing their target. One snatched Cassandra and Arum off the ground while the other aimed for Donatello.

He tried to weave out of the way, run around it toward his brother who had his back to him. But it wasn’t enough. The devices were meant to chase their target, on the off chance they got snatched by an enemy during launch.

He almost got close enough to grab Raph’s shoulder when the belts snapped around his chest. It jerked him backwards, into their.

“Raph!” He screamed. “Raph, what did you do?”

“Sorry.” Raphael finally looked at him, smiling, in spite of the onslaught of kraang reemerging from the hall. “Take care of them for me, okay D?”

“No.” Donatello screamed as the cover snapped down. He tried to pry the belt off, release the hatch, but it was too late for that. “No. Raph? Raph!”

The pod launched into the air, out of the hole Raph created earlier. Had he planned all this from the start?

Donatello kept staring at the old base, praying that Raph would somehow find another way out of it.

He could see the shock wave hit the ground before red light emerged from the ground. It twisted into the shape of his big brother, a bigger construct than he ever created before, almost glowing as bright as the sun.

It aimed a punch down, and as soon as the fist collided with the ground everything exploded.

Donatello flinched when the shock wave from that hit the escape pod. Thankfully it stayed intact, and on course. He tried to look back at the base but by now it was nothing more than a crater and a pillar of dust and flames.

“Ra... Raph...” He barely got the word out. Shock settled into his systems, rendering him silent as the base got farther and farther away.

As Raph got farther and farther away.

Donatello failed to hold back his sob this time.

He wanted his big brother.

[cl-0v3r]

Mel is alive, but at what cost

Mel was nearly killed TWICE, her mother began being a struggle, she'd been thrown aside and trying her best to stop her, her boyfriend is not doing well, neither is anyone else (can't blame them) and the fact that she hadn't cried or spoke much about this situation to anyone a single time?? She IS upset about every single thing, yet she stays strong and enduring every bit of torture. The most she did was tell Jayce that Ambessa put her palm on the table, and let him know that she is going to push for hextech. That's it, nothing remotely related to her feelings.

The fact that she was constantly looking at Caitlyn, being able to understand her grief and knew she was in pain?? Mel knows this feeling. She'd went through it.

And in the end SHE has to pay the price of her mothers incompetence.

The intro is very much foreshadowing, we know the hands represent black rose/LeBlanc.

This is what happens in act one, she gets kidnapped by them. The lyrics do correspond to the characters as well (not just Mel, everyone.)

"Tell you you're the greatest" plays as a petal of the black rose floats down the screen, I think it adds significance to the power this organization holds, possibly the Medardas greatest foe.

"But once you turn, they hate us" both Ambessa and Mel were present in this line, I think its foreshadowing for when Ambessa switches up for whatever reason and goes against both Piltover AND Zaun. And Mel WILL go through change as well, a change that could hurt her relationship with others, and receive interest from others too.

"They hate us" could be read individually too, I feel like its a sort of "realization" ?? Perhaps Ambessa WASN'T the one that switched up, maybe Piltover switched up on them, and maybe Mel JUST got out of wherever she's taken to, and saw the mess Ambessa had done to her city??

I think this represents ACT TWO.

The hands pull away and it sort of looks like Mel is fighting back, a "get away from me" type of scream. you know what this reminds me of??

Don't mind me just pushing my Jinx/powder-Mel parallel agenda

Here is when i think Mel truly learns about LeBlanc/BR, she curiously and slowly goes to grab the rose, she learns about the history between her Mother and them, Kinos death, and most of all, learns about HERSELF. The lyrics speak otherwise.

"Pray away, I swear

I'll never be a saint, no way"

This feels like a parallel to caitlyn of sorts if that makes sense. Caitlyn had done everything to try and stop the council from attacking the Undercity, she kept her mouth shut when Jayce asked about Jinxs grenade, she was willing to protect Vi and the undercity, but how many times has she been tossed around? She'd been burned, exploded, kidnapped (god knows what happened during that time) and hit in the face by the same person, her MOTHER died because of the same person. She has every right to go insane. And she is hunting ONE person, which is Jinx. Although she is harming the people around her along the way.

What if Mel goes through a similar situation? Her mother pushed for war in her city, she dragged the enemy along with her even if she didn't mean to, she manipulated everyone around her INCLUDING Jayce, she LITERALLY got Mel hurt from the chembarons attack and killed so many people during a MEMORIAL to get her hextech weapons, Elora is most likely DEAD, not to mention whatever happened in the past between them. And the thing is, this will NEVER end throughout the entire season.

And what if she learns what she is? That she's 'blessed' by Kindred? The fact that the wolf is quite literally in her blood?

I feel like the "ill never be a saint, no way" also sort of indicates Mel will realize she'll never be able to push for peace and mercy like she always hoped for no matter what, and she comes to accept that as much as it hurts. But not like how ambessa accepted the wolf, but she sort of realizes she needs to push a little violence, towards nobody but the one and only, Ambessa "fine, if you want me to be like you, I guess I'll be like you towards YOU." Type of acceptance.

I think its also related to Mels new outfit too, she's dressed like her mother, in red and all of that. I will still stand by the idea that she has plans to decieve, but she will do something she doesn't want to do.

Mel was left with no choice, that lyric sounds like realization, acceptance, but also like a plea at the same time, an "I'll never be who I wanted to be" because in the end, she's still a Medarda, she's still her mothers daughter, she still has violence in her veins, she will never not suffer from the weight her name holds, and she will never escape it either, its like a shadow.

The Characters won't be themselves at their core this season. And those vital parts of their characters that represent them are no longer there in the intro, they all have given up what makes them, THEM design wise. (e.g.) Vi without her tattoo, Viktor hiding his identity with the mask. And the thing is, they did that to themselves because they do self-harm, they're changing themselves because THEY want to, they're forcing themselves to do that, they think they're undeserving and they're erasing their past selves.

But Mel? Mel doesn't have her gold accessories, Jewelry, or her Armor, she'd been stripped bare and hidden away because of the brutality of her name. She pays the price her mother brought to HER city. She's forced to change herself against her will, because nobody is giving her a chance to push for her ideals.

This entire theory never ends, and with all of this? I kinda do see Mel actually committing Matricide, it lifts the "Ambessa will die" theory further.

[herrscherofmagic]

First of all: this is absolutely amazing and I can't thank you enough for this analysis of Acheron!!

Second: I just wanted to add a mention of Honkai World Diva, which is Mei's signature song from the GGZ days when Mihoyo was literally a smol indie company; a cover of it was used in Lament of the Fallen in HI3rd!

"Crimson moon shines upon a town that is smeared in blood…" Cried the diva given into lament All those sweet little dreams buried deep in memories until the very end -Honkai World Diva lyrics

I'm really far behind on the story and haven't even started Penacony nor seen most of the promo material, so all the little glimpses I've caught of Acheron & Black Swan content have confused me, and in general I've been losing interest in HSR's main story and have been trying to get back

but with all the context you've given in this analysis, plus the lyrics of Honkai World Diva, it feels like Acheron is a totally different character for me now

like, Mei never truly "lost" Kiana in most versions of their story. Yes in GGZ when God Kiana ended the world at the end of the Retrospective arc, but otherwise they managed to hold on and fight together for most of the time. and in HI3rd ditto, Mei never truly "lost" Kiana. She was close, yes, but Kiana endured and they reunited eventually.

So Honkai World Diva always fit Mei but in a sorta loose way, it always felt almost like a parody of Mei's actual story, y'know?

BUT NOW WITH ACHERON??? HELLO?????

Like at first in Genshin with Raiden Ei I thought her story sorta fit HWD as well because of the loss of Makoto, and the whole "red moon" thing from the Khaenri'ah cataclysm. But with Acheron it's so painfully clear in that teaser image and with all the other context you've given.

If Acheron lost her "Kiana" then all the lyrics would fit her story nearly perfectly!

O your smile is tainted and your face is cold There's no more comfort in your lips and cheeks The whirling noise is pulling me within The tainted carcass of this world

[Pre-Chorus] All the incandescent stars of heaven will die at the end of days Your gentle soul given to damnation

The death of the person closest to Acheron and the disaster in which it happened. (also... "your gentle soul given to damnation" is such a powerful line and I pray to Da Wei that we get something like that in HSR's story!!)

[Chorus] "Crimson moon shines upon a town that is smeared in blood..." Cried the diva given into lament All those sweet little dreams buried deep in memories until the very end

[Verse 2] Lost and faded truth of bygone memories Hiddеn deep in my corrupt body

Imagery of the disaster and Acheron's despair, along with the memories being "buried away" with Acheron seemingly unable to remember neither the good nor bad of her past life; also the "corrupt body" of her white-and-red form

[Pre-Chorus] I can hear the voices of the people I miss in this final song I would tremble just to hold them once more

[Chorus] "Florid moon shines upon a world that is doomed to die..." Wailed the diva given into lament All our pale, fleeting dreams are where the truths are hidden Until they fade away

"Crimson moon shines upon the town that is smeared in blood..." Cried the diva given into lament All those sweet little dreams buried deep in memories until the very end

The mention of the truth being "hidden" in fleeting dreams, paired with the teaser when Black Swan was diving into Acheron's memories to find the "truth" about whatever happened w/ the Annihilation Gang...

obligatory post before acheron's release

obviously, it's established that acheron is a variant of raiden mei. her real name is not actually acheron (confirmed through the livestream, but...come on, we all already knew that). specifically, there's loads of similarities in her design to the herrscher of thunder above all else

similar hair structure, hair part, n hairpiece (n obviously the color, too),

sword structure, patterns, n nearly identical handles,

one "red" arm,

the bust/halter,

and of course, the color scheme as shown in acheron's "emanator" form, n the horns shown in the livestream

with all that in mind, i imagine acheron is a variant of mei who failed to save the person closest to her (her kiana, to simplify it), n/or watched them die, or even killed them herself. it's shown during her dance with black swan that there was obviously someone important to her in her past, conflict arose in a setting much like the one featured in the livestream, n there's even imagery of her walking alone with only the moon in the sky to keep her company

kiana has been associated with the moon n moon imagery since the flyme2themoon days; her origin was quite literally a game about blasting off to the moon

this teaser resembles thunders over nagazora to me, as well as mei watching kiana's end in honkai gakuen

there's also the fact that the type of emanator acheron is, an emanator of nihility, is classified as a self-annihilator; those who have felt the pull of nihility n been unable to escape drowning in it. self-annihilator's take the meaning of nihility to heart, so much so that it erodes their bodies n memories

acheron has been confirmed as the self-annihilator type in her character introduction posted recently. what really strikes me about this line is the phrasing of "existence is nothing"

sounds familiar, doesn't it?

mei is characterized by the tragedies in her life, n how they impact her. growing up isolated, a kidnapping at a young age, bullying at school, suicidal tendencies, n the constant reminder that the girl she loves more than anything in the world will always put the overall well being of humanity over herself

to me, acheron is a mei shaped by loss. the mei we remember from hi3 had the chance to grow n change; to learn from her mistakes, n to fight for a better world, bc she had the support of her friends n her most important person. acheron doesn't seem to have that level of support from anyone, at least not anyone still in her life currently

which brings me to my next point. she HAD a "kiana," but ultimately lost her. n this is the result

acheron is incredibly powerful, but her power seems incredibly volatile. she carries this innate sadness with her wherever she goes, n the very path she walks n the very aeon she became an avatar of strips life of all meaning, all the beauty from the world

it's a far cry from the mei we know, bc clearly, there was a very pivotal change in her development that i can only attribute to the loss of her world's "kiana"

[absolutelynotsanebaby]

I was talking to my mutual about Cole when I had a surge of Thoughts so per usual you all have to hear them now. I was considering a couple things, namely his development and place as the "strong guy" on the team and his masculinity (and how it presents in the show vs in fanon).

Cole's pretty often typecast as the gruff strong guy in a lot of fan-media (from fanfics to fanart etc) which isn't wrong because he was like that, especially within the early seasons. The way he spoke, the way he acted, his place as a sort of leading force. In season three you even see him in that stupid lumberjack fit (said affectionately), it's all very traditionally masculine. Which fits his whole Strong and Big guy of the team role (the five man band archetypes etc etc). However, it's interesting to say because at his core, he's very emotional and very driven by a strong sense of internal compassion (with a canonical affinity to children). Which obviously none of that is opposed to masculinity but these traits begin to show more as the gruffness pulls back. The first real example of that I think is in ToE with his fight with Jay. I don't read him as being invested in their fighting the same way Jay was. Jay was fueled by insecurity and a very strong sense of jealousy and possessiveness. Cole? I think he was just reacting to Jay's aggression, which didn't put Nya in a better position but it is a difference. 

So when their match rolls around, he's the first one to realize what they're doing is stupid and give in. He reaches out emotionally to Jay. However, Jays still is a friend so that is easy to write off as a symptom of friendship. And then following ToE we have possession and DOTD which I think are where he really begins to develop, and have the strongest examples of what I'm getting at. I'm going out on a limb and saying that I really see his prior gruffness as a sort of armor, to be good enough for the team (insert that one Wu note of him staying up late before missions) and also there his whole rebellious streak against his father trying to force him to be someone he's not. (Note: I wouldn't be surprised if how Lou raised him really had a impact on all this) Then, we get to Possession and both his self worth and self image are shook badly by literally dying. He outright says he's not a ninja anymore, which I think he based a lot of who he was on (<- which is why struggling with it hit so hard).

Finally DOTD comes up and I think we see the strongest example of where his compassion really become a core trait. It's his fight with Yang. He had no reason to reach out to him, to be honest he had the right not to, but he did and it worked! He didn't get out of DOTD in the end with brute force, he got out of it with emotional support (his team showing up), a stubborn adherence to his moral code, and reaching out to Yang with empathy. From that point on, I think he's softer and more prone to being emotional, it's like there was a very real shift. To circle back to Jay, because I think he makes for a good comparison, he does not develop like that post ToE. Actually, the issues carying from s3 (though, they do exist prior just not as starkly) all the way to Skybound where it gets violently (literally) addressed. Jay fans can probably say it better than me but the season is about his insecurity and treatment of Nya and there's a reason both Nadakhan and Cliff are like that (read: they're parallels). It's just interesting because both Cole and Jay have issues with self worth and image but they present and develop very differently. 

There's also the fanon aspect with those two that's really funny. I think everyone's aware of the infamous fanon-bruise, the 2010s-yaoification. Uwu Jay, Big Strong Man Cole, and how weirdly racist it is. It's just funny to note because the issues projected onto Cole in fanon are ones Jay has, like, in the show. Cole's the more emotional and compassionate one of the two, but because of the strong guy role, it gets flipped around in fanon. Going by the 'traditional' (read: toxic) masculine standards, in terms of personality and character, I think Jay more closely aligns. It reminds me of this post I saw once, it was of Hunted where Jay was making the plane (?) and Cole was with baby Wu. It called Jay the 'mom' and Cole the 'dad' which I find kind of funny because if you look at it through that hetero-normative lense, it really should be the other way around. Cole's the one caring for the baby pretty consistently, Jay's the one making a machine and Working. Did Jay just get called the 'mom' there because people think of him as smaller and weaker and therefore more feminine? Did Cole get called the dad just because he's strong and considered bigger? It's interesting. Fanon does Cole really dirty sometimes.

To get back on topic of Cole's narrative development, then we get to MOTM (like a bajillion years later which no I'm not complaining except I am). Cole's characterization in MOTM is so fucking good. MOTM does a fantastic job at tying together several of his strings. It ties in Lilly, his self esteem, his staunch morality, affinity towards leadership, and compassion into one, pretty bow. MOTM puts Cole back into a leading role, and it gives him several groups to reach out to (Vania, the munce and geckle, the uppily). It draws back the insecurity present in him, letting it show again to be addressed. It even ties in his relationship to Wu in a really lovely way to me. MOTM is the season where Cole finds who he is, his identity and his place as his mothers son.

Speaking of that, I have a very strong love for male characters who exemplify who their mothers were and what they taught them. The scenes with Lilly really put his entire character into a different perspective. At the start he was this tough kid fresh off grief and pressurized so strongly by his dad and himself and he goes through loops and hurdles of strength and identity and by the end he finds himself exactly where he needs to be. Where he's the strongest and it's in his mothers footsteps, as someone both emotional and strong. It's a really lovely character arc to take him on, and though I haven't watched DR, I've heard they continue that on. 

Anyways, consider it positive masculinity, consider it anything else. I just had a lot of thoughts to share and hope I don't sound too 'reading-too-deep' about it. Bye bye Kar ramble over.

[tritoch]

Have you got any thoughts to share about Sphene? I saw your post about how misrepresented FFXIV’s female characters are, and I’ve been hoping to see anything more than the typical “Evil AI colonizer etc.” or “Tragic woman who can never change ever” or “Wuk Lamat’s girlfriend”. Maybe our interpretations will differ but I’ll be happy if you can provide anything more complex than those.

Sure! Throwing all this under a read-more for anyone who hasn't finished 7.0 yet. I think I'll probably expand on this more later but wanted to get initial thoughts down. (Note after writing: I meant this to be brief but uhhhh brevity is not my strong suit sorry. This take just sort of ends abruptly because I realize I'm rambling.) Again, spoilers through the end of 7.0 MSQ.

I think Sphene is the sharpest work the game has done yet in casting the antagonist as the noble double of the protagonist (a well it returns to a lot with Emet, and Zenos, and Golbez, and...). But because the protagonist here is Wuk Lamat and not the Warrior of Light, that's also a much more defined and interesting role. To me, Wuk Lamat is, above all, the Righteous Queen, who rules thoughtfully, wisely, and justly, and whose claim to the throne is justified by her moral clarity. Sphene, in turn, is also a wise and good queen, one who undertakes all her actions with her people first in her hearts, a sense of compassion towards all, and a clear eye for the consequences and costs of her intended course of action. And it leads to utter disaster, for her, her people, and the people of Tural. That rocks!

The first half of 7.0 is about justifying the fact that Wuk Lamat's going to be Dawnservant. Wuk Lamat is compassionate, curious, wise, and open-minded. She wins over rebels and malcontents not by asserting her authority or by strength of force, but by taking her obligations to them (as her subjects) seriously. She knows many of her subjects personally and takes a great interest in their lives, and she respects even those who openly oppose her.

And everything Wuk Lamat does, Sphene does to 11. Wuk Lamat respects her subject peoples and is curious about their cultures? Sphene forcibly annexes Yyasulani, but goes out of her way and expends Alexandria's limited resources to enable the remaining Xak Turali to live in their accustomed way if desired (…to the extent allowed by the new permanent lightning storms and the internal conflicts caused by regulator adoption). Wuk Lamat cares about her people not just in the abstract but as individuals? Sphene visits sick kids, knows them by name! Wuk Lamat understands the burden of rulership is too great and cedes half her power to her brother? Sphene recognizes her own weaknesses and makes a deal with the devil to keep Alexandria's culture alive! Wuk Lamat is willing to die for her people? Sphene will forcibly traumatize herself into being a better queen, if that's what rulership demands.

For an expansion that spends the first half being like "wow isn't this perfect candidate for the crown so likable and humble? wouldn't it be nice to be ruled by a good king?," it sure is funny that the final boss is THE QUEEN ETERNAL and she hits you with attacks like LEGITIMATE FORCE and ABSOLUTE AUTHORITY and ROYAL DOMAIN. This, to me, is Sphene's role: she complicates and questions the themes we've developed in the first half. Most importantly to me, she makes us ask: what is devotion to a people or culture even worth?

There's a thing I kept thinking of constantly during Dawntrail, not because I think it directly influenced the game in any way but because the parallels were so stark and startling. It's Jonathan Hickman's New Avengers #18 (2014). Truthfully, I'm not a big comics guy; I only know this sequence because Ta-Nehisi Coates cited it as inspiration for his Black Panther run on Twitter once (I also didn't read TNC's run, I was following him for politics talk). Forgive me, comics people, if I get any details wrong. The parallels are almost comical, though. It goes like this:

A superhuman secret society formed of some of the smartest heroes (and villains) in the land re-forms to oppose an existential threat caused by incursions from other dimensions that threaten to cause literal collisions between Earth and its alternate dimension counterparts. Seeing no other alternatives, they undertake work on a weapon to destroy these other worlds. T'challa—king of a fictional hyperadvanced nation called Wakanda, and also the superhuman Black Panther—meets with his ghostly predecessors, the previous Black Panthers/kings, for he fears the moral stain on his soul and the souls of the people of Wakanda, if they survive explicitly by killing their alternate counterparts, will be too heavy to bear. His ancestors are not impressed.

To them, there is no question at all. A king's duty may be complex in the execution, but it is simple in its conception. Your people come before all others. Always. This is, must be, the fundamental ethic of a good king. To do otherwise would be a betrayal of the social order on which this imagined good monarchy is built. In a situation like this, the only option is to do what you must to protect them. "Will there be a cost? Yes. Might the universe burn? Let it. . . . You will kill them all if it means Wakanda stands. The golden city must never fall."

"I will do what I must" is Sphene's guiding principle. It is so important to her that when she recognizes that her sentimental attachments are making her waver in her duty, she severs them entirely, sacrificing her whole identity to the throne. It is also implicitly Wuk Lamat's position: she has no choice but to fight Sphene because to do otherwise would be to fail to protect her people. In fact, it's briefly even sort of the Warrior of Light's position, as when you tell Sphene before her trial that you understand what you must do, which is shut her down to protect others.

(One quick thought about the Warrior of Light: one cool thing about the antagonist this time being a double in a more exact way than Emet or Zenos is that it means other characters get a chance to relate to her differently than Wuk Lamat. The Warrior of Light, for example, is pressed into her service immediately upon your first meeting as the Queen's Champion, there to defend her if need be against all evil. This role is further affirmed by both robot Otis and Endless Otis, who essentially hand off their role as her knight to you, and reinforced when you flash back to the "might I call upon your aid" moment right before the end. Except, of course, you are loyal not just to her, but to the principles she represents, which her own acts betray, and so your ultimate act of aid is to essentially pass judgment on her and execute her. In a sense, you become the internal safeguard that a political system is supposed to have to protect against this very issue, and which Alexandria explicitly lost when it cast out/forgot Otis. Very Voeburt/ShB tank quests, it owns.)

But really, it's Sphene who embodies this sort of grim logic best. Aside from her transformation into the Queen Eternal, it's also why she suggests you simply become Alexandrians. It's the only way for her to reconcile her values and worldview, which have backed her into a corner where preserving Alexandria has come to mean a maximalist declaration of war on all life outside its borders because the kind of absolutely pain-free life she envisions for her citizens is completely unsustainable.

In this reading, one of Sphene's main beats is to unsettle what has preceded her in MSQ. In nearly all respects, she shares your values. She prizes life, is curious about other cultures, believes in the greatest good for the greatest possible number. But she is also a queen, and therefore irrevocably (in her eyes) tied to her state. Gulool Ja Ja and Wuk Lamat (and Koana) are the mythical wise rulers, thank god--but what if Wuk had inherited a Turali state that wasn't desperately in need of cross-cultural understanding, but one in a state of war? What value would her deep love for the people of Tural have held then? Sphene says, it would have held no value. If the survival of your people means harming the innocent, you harm the innocent. Kingship allows for no alternatives.

But she also concedes, in the very next breath, that she is still kind of wrong. Because what happened here was not inevitable, despite her programming (a brief note: to me Sphene being programmed is exactly the same as Emet being maybe-tempered, it's a fantasy gloss on the idea of social and cultural education. "I was programmed for this" is really no different from "I was trained and educated for this"), because the truth is that this kind of thoughtful, principled devotion to the state and its people is also a form of sentimental attachment, in the end. One that is maintained not because it is natural, and necessary, but because the monarch, too, likes it, and gets something from it.

In so many ways, in so many senses, the monarch is the state. Kings and queens may fancy themselves merely a reflection of their people's needs and desires, but of course even a cursory glance at history will tell you that far more often, states reflect their rulers. Sphene and Wuk Lamat both suggest that their conflict was inevitable, but was it? Or is the truth, as Sphene glancingly acknowledges here, that she turned her own fears and desires into the same policy goals that led to this tragedy? And if so...what does that say of our Good Queen, Wuk Lamat? Perhaps this could be different if they met earlier, says Wuk Lamat. But when? When did Wuk Lamat ever not love her people so dearly that she would not have sacrificed herself for them, or caused mass death for the sake of their survival? When did Sphene not believe the Endless to be people, or the preservation of Alexandria to be the most important thing? Maybe she means "had we met before you met Zoraal Ja," but of course, we the player actually saw their meeting. And we know that Sphene even then was not the hapless naif she'd like to pretend. She always knew exactly what she was doing.

We know the price of this kind of thinking, this Hobbesian view that states are engaged in a struggle of all against all. Living Memory lets you walk through it. To preserve Tural, we exterminate the Endless. We befriend them, learn about their lives, promise to remember them, and then we destroy them and their homes, leaving nothing but a bleak blank landscape and the sound of wind. This is what Sphene would have done to Tural and Eorzea. Indeed, it's what she's already doing to the people of Yyasulani, because no amount of well-intentioned aid can make up for trapping people under the dome for 30 years and systematically eroding their culture through the resonators.

To me, this is what makes Sphene really work, that way she has of forcing Wuk Lamat and the player to commit the same kinds of sins she has. We'd like to think ourselves better than her, but of course, we've already reconciled with and integrated Mamook's brutal eugenicist regime back into Turali society well before we ever met Sphene. At the end of our long "wow isn't having a wise queen cool???" expansion, we are met with "Legitimate Force" and "Absolute Authority" and see them for what they truly are: nothing but tools of violence. No longer does the idea of the Warrior of Light hanging around Tural as Wuk Lamat's advisor have the same attraction, now that we have been reminded of the way the putatively unquestionable logic of kingship can ultimately lock even the wisest and kindest rulers into a path of war and exploitation and destruction.

I think Sphene is FFXIV's most interesting and nuanced depiction yet of a leader. She really, truly, wants nothing more than to save her people and protect them from pain. But even seemingly loving and compassionate goals like these can readily lead us down dark paths. She's a "hard men make hard choices"-type character, a noble but misguided opponent, but as a loving and elegant fairy queen instead of a grizzled knight or extremely sad man. She fucking rocks.

[videogamelover99]

OKAY BUT LISTEN. LISTEN. I WANNA BREAK DOWN SOME OF THE PANELS FROM THIS SCENE CAUSE UH. This is like a powerpoint of the audience realizing the Sheep are not Chuuya's friends.

First off, baby? Baby. Also Chuuya's body language in the art is so, like, embarassed/self-conscious teen, except instead of the problem being hanging out with the wrong people in high school its...Mafia-level stakes. Anyway, Chuuya curling up while hiding from his "friends" immediately gives you a sense he is not the one in control.

Dazai-like expression who? Chuuya is putting on a mask so eerily similar...it gives us some great parallels.

Chuuya unnecessarily apologizing to Shirase? Yeah. Straight from the book.

Insane over Shirase's solid B+ gaslighting. I don't remember if these lines are from the book, but Shirase implying Chuuya's the one "acting like a tyrant" when he literally didn't do anything?? Except ask politely for favors? Throughout the whole conversation he's been the polar opposite. But hey, maybe Shirase's just projecting.

Haha, "somehow".

Nothing to add here except Shirase's body language in this is SO much better than the anime. In the anime he just acted mad and kinda hot-headed. Here he's smiling, acting friendly, giving off those "ofc I'm on your side Chuuya but you make it so hard for these made-up reasons" vibes. Shirase is opportunistic, manipulative, he believes he has control over Chuuya, and therefore his ability.

Of course, Dazai can tell immediately what Shirase is doing. That Shirase has more power over Chuuya than Chuuya does over any of the Sheep (which is once again reinforced by the body language. Shirase's arm over Chuuya's shoulders, swamping him. Being physically taller than Chuuya. Chuuya just kind of standing there, passively.

Also despite what Shirase seems to believe, he and the other Sheep are not one bit smarter than Chuuya. They're eagerly celebrating their victory when Chuuya can clearly tell this is some sort of plan on Dazai's part.

Dazai destroying any leverage they had over Chuuya and yet knowing there's some reason Chuuya is doing this anyway. Offering him a choice.

As I've said before (and it's more obvious than ever in the manga) Shirase's using it to gain Mafia territory by getting some of their members captured. I've stated this before, and we do get a confirmation:

The "self defense rule" is something Chuuya explicitly created. To not strike unless provoked. I have a lot of thoughts on this and why but that's not for this post.

And we have!! Dazai getting pissed off on Chuuya's behalf!! He's scary.

(Spoiler alert: they are not his friends.)

Ahhhh

Ahhhhhhhh

Guys I love this chapter. Because on one hand, Shirase, like the rest of the Sheep, have very legitimate fears. They're literally a bunch of kids that used to be preyed on by other organizations, and if Chuuya is not guaranteed to protect them, then...well...they're in horrible danger, really.

The problem is that Chuuya is ready to protect them. But they don't trust him, and it seems they never have. The whole thing is built on Shirase (and probably the others) holding some kind of emotional and social power over Chuuya, therefore guaranteeing their safety. But when that's not longer the case, well, they don't trust Chuuya to protect them. I'm curious how the manga is going to adapt Dazai's whole "meat" story later on because the issue isn't a selfish conflict of interest. The issue is trust, and the lack of it between Chuuya and the rest of the Sheep.

It's like the Sheep built their gang on high school clique rules, and didn't realize Chuuya's not just operating out of a sense of obligation and need to belong, but genuine care. Anyway, that's all I have to say. The art is beautiful.

[haljathefangirlcat]

Also a shoutout to whoever wrote this very salty episode summary on the RH wiki.

OP, I will literally never be able to thank you enough for exposing me to this.

Robin Hood Rewatch - 3x09: A Dangerous Deal

Sigh.

I mean, where do I even start? I remember this episode being bad, but I’m astounded at how truly terrible it is. Really the most misogynistic trashfire of an episode this show ever had the misfortune to produce.

Ranting ahead. Quite a bit of it.

Continua a leggere

[magewritesstories]

[ SPENCER REID ] GIRL DINNER

cw. you and spencer are alone in the bullpen after a long case and you introduce him to girl dinner, guest starring spencer's glasses bc why not. [ fluff ] note. i used what my comprehension of girl dinner is but there's a lot of different opinions on what it's supposed to be. wc. 622

THE BULLPEN IS QUIET AS THE CLOCK STRIKES 11:30 PM. Spencer sat in his office, wondering why he ever took Emily up on the offer of becoming Unit Chief.

The pile of unwritten reports seemed never-ending, and the pile of written ones barely growing.

The man sighed as he ran a hand through his hair, casting a glance out his office window to look at the single lit light coming from your desk, where you're also hunched over a profile.

He quickly checks the time on his watch and gets up.

"You should head home, it's late," he stated, leaning against Luke's desk, which was parallel to yours.

You looked up from the report in your hand. "It's okay, I'm almost done anyway—what about you?"

"That doesn't count, I'm unit chief," he replied with a simple shrug of his shoulders.

"I didn't realize unit chiefs weren't human," you replied with a teasing tone.

Spencer just shrugged. "I told JJ I'd write her share of reports so that she could go home and spend some time with Henry and Michael. What's your excuse?"

"Just looking at the pile of unwritten reports on your desk made me tired," you answered. "I didn't want to add to it."

"I don't mind, you know."

"I know, but just because you don't mind doesn't mean I should take advantage of it every time—besides, believe it or not, I had nowhere to be anyway."

You gave him a small smile that made his heart flutter.

He stayed quiet for a minute (by accident) before quickly clearing his throat. "Uhm, have you—have you had dinner?"

"Sort of," you shrugged. "I had girl dinner if that counts."

Spencer frowned as he said something he found himself saying a lot more often with you around, "I—I don't—I don't know what that means."

You used your pen (pink with a small kitten attached to it—probably from Penelope's 'Batcave') to point at the empty plate sitting at the far edge of your desk.

"I had a small container of yogurt, a cup-o-noodles, and some apple slices," you explained.

"That's just a bunch of different snacks," Spencer blinked in confusion.

You shook your head as you corrected him, "Actually, it's a bunch of leftovers I found in the fridge—don't tell Terry, he's very serious about his yogurt."

"Still not sustainable," he countered with a smile, pushing his glasses further up the bridge of his nose.

"It's three out of the five main food groups," you replied with a grin. "Besides, it's not like I eat like this every day. I just didn't want to waste time getting dinner when I wasn't that hungry anyway."

You leaned against your chair, spinning slightly, as you looked at the slight crease between his brows.

"Tell you what, boss," you said, "If my choice of dinner bothers you that much, why don't we go out?"

"Wha—what?" he asked, snapping out of his daze.

You smiled at his flustered expression. "For dinner, obviously. C'mon, my treat, y'know, for being such a great boss."

"I—I—"

"It'll be fun," you insisted. "There's this great Thai place that opened a few streets down from that bar we went to the other day. JJ said you don't know how to use chopsticks, and I would love to see you try."

Spencer shook his head. "I taught myself, actually. I can use them now."

"Great, I guess you can prove it to me," you replied.

"You really think that place is still open right now?"

"Yep, opening hours are from 7 to 2," you answered. "So if we can finish these reports before then, we should be fine."

Spencer sighed before giving you a smile. "I'm going to try."

"Great, it's a date!" you exclaimed as he turned back around to walk to his office.

You were going to give him a heart attack one of these days.

[the-ineffable-dance]

Holy Palmers Kiss

Throughout their history together, the romance between Aziraphale and Crowley has mostly been expressed through incredibly subtle ways. It's been centuries (if not millennia) of nothing more obvious than a surreptitious brushing of hands or yearning looks when they think no one is watching. And of course, when they have plenty of deniability.

Good work, Aziraphale... hand on the chest of the Thin Dark Duke, and if anyone asked, you were just making sure that young lady didn't get bumped.

And this is for a very good reason. It quite literally isn't safe for them to be openly romantic with one another, even now. Demons like Hastur and Shax are constantly popping up... Michael and Uriel are always watching... eyes are everywhere.

They have certainly gotten closer to being open in the years that separate the two seasons. Crawley sprawls all over that bookshop like he has a personal vendetta against chairs - removes his glasses as soon as he steps foot inside (which is an incredibly coded action that I would love to take a more in depth look at in the future) - gives up the keys to the Bently... And Aziraphale himself has those longing looks - calls him up to talk enough that Crowley knows his "tones of voice" - and then, we get The Ball.

Technically, The Ball is for Nina and Maggie... or at least that's what Aziraphale says. We get the lovely little moment in the pub where he and Crowley try to come up with the best ways to get humans to fall in love with each other. But the moment Aziraphale mentions Jane Austen having characters dancing with each other and realizing how in love they were, I think at least for him the focus changes to this... THE BALL IS FOR CROWLEY. And once he starts giving away books to make sure the ball will be perfect, there can be no question. The entire idea is a way for him to be able to dance with Crowley.

That's why, for me, the most romantic moment in all of Good Omens, at least from Aziraphale's point of view, is this moment right here.

Vavoom! Sorted! Look at the way Crowley even curls his fingers around Aziraphale's hand! This is peak Aziraphale romance as a fan of Jane Austen.

But he's also a fan of Shakespeare. Even the gloomy ones. And every time I watch this scene, I'm reminded of a different ball from one of the gloomy plays that Crowley would hate and Aziraphale would swoon over. Romeo and Juliet. A fitting parallel to an angel and a demon being in love.

In Romeo and Juliet, at the end of the first act, is another ball. Romeo tries to get Juliet to kiss him, and she turns him down with this...

"For saints have hands that pilgrim's hands do touch/ And palm to palm is holy palmer's kiss"

There's quite the back and forth here between Juliet and her Romeo about hands and lips and such, (and eventually Romeo gets his way) but the parallel for Aziraphale in this exchange is unmistakable. He, as the angel, is the saint (and stand in for Juliet), Crowley his pilgrim. Snogging in public would be absolutely out of the question for our dear prim and proper Aziraphale... but this is a chaste kiss, and one that he is showing the world. A public declaration of his love for Crowley. A Holy Palmer's Kiss.

It's certainly debatable if Crowley would have picked up on it. Like a lot of their coded language there are times when one of them misses what the other is trying to say. But in my opinion, this was not only a public declaration, but his confession to Crowley. This is his "I love you" as much as "I forgive you" is.

Just for fun, here's how Romeo finally gets his kisses (but let's have Crowley stand in for Romeo and Aziraphale for Juliet, shall we?)

Cro. Thus from my lips, by yours, my sin is purged. (They kiss)

Azi. Then have my lips the sin that they have took.

Cro. Sin from my lips? O trespass sweetly urged. Give me my sin again. (They kiss again)

[ardbar]

You know. Noobs aren't really expected to last very long. Every time we see one that isn't Evbo, they never last long. We watch at least 5 of them die. Who knows how many Evbo has watched die. They probably aren't expected to last more than a few weeks.

And who would waste resources teaching things to people who will be dead in a few weeks anyways? Who would even teach them things? The Pros? The pros would Never, even if it was their Daily Task they would likely just sneer at the Noobs and call them stupid.

It makes me wonder. How many things are considered Common Knowledge that Evbo simply doesn't know even exist? How many things does he do that everyone else would consider him Utterly Insane for that were just... normal on the Nood Level?

EMF catches him using a bucket of water and bar of soap to wash his clothes instead of a washing machine and just thinks he likes doing it the old fashioned way. Shades Pro sees Evbo counting on his Fingers, only after 5 he's speaking jibberish. Shades decides he misheard him or Evbo is fucking with him. Seawatt finds him picking grass blades off a grass block and turns away with a roll of his eyes, not seeing Evbo stuff the fistful of grass into his mouth. He says that even reading is parkour because that's how he refers to all things he's never seen before (and 90% of the time is Correct in this assumption) and EMF and Seawatt think he's just making a joke.

And no one helps him because they don't know he needs help. They don't know that he can't read or write, he doesn't know numbers past 5 and ended up making up names for them, doesn't understand any sort of machine, even unable to understand how furnaces work really, as they had them on noob level but had no fuel for them, he eats grass blades because sometimes... sometimes Pros would "forget" to deliver some meat to his house, or he would be late and not get any, or sometimes the hunger would just get To Bad. Does he even know what a callender is? Evbo has no idea any of these actions are incorrect or that there's things he should learn.

After all, how can he possibly ask for the answers to a question he does not know exists?

Wait I actually love this. I've also believe that Evbo just wouldn't know as much as everyone else because as you said the Noob level just has no infrastructure. Like to your point about him saying even reading is parkour, he specifically mentions he only started to learn it after becoming the champion. This really goes to show how the noob layer just wasn't cared about. However this has always made me question some things, what exactly is the point of the noob level if ranking up is impossible. The master level is obviously a parallel for the wealthy elite, which would make the pro level something around the working class, following this type of logic the noob's would be like the lower class and menial labor. However, the noobs don't actually do anything. While we didn't spend too much time in the noob level all we really saw was that they have to do their daily parkour for food and then as long as they follow the rules they have no other tasks. Do they just exist to keep the pro class busy, to make the pros not realize they are still at the bottom of the social hierarchy?

Personally I think it would be cool if that was why the Noob layer is so underdeveloped and as you said not well educated. The noobs were only a means to an end. I think it would make sense that the Pro level has the biggest population since they aren't prone to dying like the noobs and because they do most of the jobs. Because they have the biggest population and thus a decent amount of sway the champion keeps the noobs around to make the pro's antagonize them instead of trying to rebel against the masters and him. By keeping most of the conflict between the pros and noobs he has effectively prolonged his society.

The noob's exist as an example that things could always be worse. That while the pros need to work to get time to practice parkour they at least have food, they at least have nice homes, they are safe as long as the noobs exist.

Personally I think it would be really fun wrote a fic about various things Evbo does and everyone else just looks at him like, "how are you alive right now?"

[fjorests-of-wildemount]

Orym's feelings for Dorian and the place he is in right now are fascinating because he *did* get to know Dorian before he left. And it hasn't been that long, even though they have both experienced so much trauma and loss in the intervening time. Just because a part of Orym longs for the times before Dorian left, and even though nostalgia has put a shine on Dorian for Orym, I don't think that means he's fallen for the idea of him rather than the reality. They have both missed so much, but in the end they *are* paralleled to each other. Orym may be saddened by what Dorian went through, but a Dorian who never knew loss couldn't understand Orym as he is now. There is a potential there for both of them to truly be *known*.

Orym didn't ask Dorian to come back as a band-aid, or to reminisce or somehow bring simpler times with him, even if that was part of the longing. The initial reality that Dorian, too, was affected by the same sorts of things that affected Orym is jarring, but they can re-learn each other. Dorian has meant safety and support to Orym for a longer time than the time they've been apart, and I don't believe Orym would turn away from him because he's angry and grieving.

"Dorian," Orym said, truly and sincerely. "I'm so sorry."

Realizing that he's spent all of this time needing Dorian, and maybe Dorian needs him, too.

[menlove]

can you direct me to any good fics set in the hamburg days or just anything pre-beatlemania?

oooh yeah ! i loooove hamburg & early days fics so certainly :) i didn't include any paris fics in this even though it technically fits the bill of pre-beatlemania just bc that's a totally different vibe & genre of fics tbh

hamburg:

I Need My Love to Be Here

explicit. 8k. After John gets his first panic attack in Hamburg, he starts to realize that Paul might be the only person who can bring him back to himself.

Put My Heart Around the Bend

explicit. 60k. He nodded and they sat across from each other on the window sill, the clammy air from outside kissing their cheeks. John watched Paul as he lit their cigarettes, as he had done so many times before. They held eye contact, and John just knew Paul could hear how hard his heart was beating. But he wouldn't say anything. Neither of them ever said anything.

Like Love, The Archers Are Blind

explicit. 22k. He wants to push Stuart out of the way, not even with a violent yank of his collar like he sometimes imagines. Just to melt into his place like butter sliding in a pan. Have it be an effortless breath of fresh air when John looks up at him and sees it all reflected back in his eyes. It’s you. Hamburg, 1960.

Running with Scissors

explicit. bluewater9: Hannah, a smutlet idea… So just what happened AFTER John cut the clothes off that girl in Hamburg? What a conversation and, ahem, J/P consequence that must have been!

No More Situations

explicit. 14k. Set during the Hamburg years. John gets jealous of a German guy who likes Paul.

Everything's Different in Germany

explicit. 4.5k. It all feels upside down, like the door to that shop was an entrance to some parallel universe or Wonderland-like rabbit hole. He isn’t hiding under the covers with a flashlight in one hand, his throbbing cock in the other, and some meticulously-posed bird’s chest spilling over the pages and onto his lap. Instead he’s in some Hamburg back alley, the concrete chilly beneath his bum and his best mate warm by his side, while he gazes over naked men and pretends not to feel the unexpected interest in his trousers.

ageless children, animal sweat

mature. 5k.

Paul is sitting close enough to see properly, one elbow on the bartop, hand tucked beneath his chin. His eyes are beetle black and his long spidery eyelashes are twitching under the harsh club lights. It makes John sort of sick to look at him. Pale face in stark chiaroscuro, gleaming with animal sweat, Paul looks otherworldly, like something neither man nor woman. Hamburg, 1960. John and Paul go to a gay bar after a late show.

general early days:

Above Us Only Sky

teen. 1k. Nowhere to go but up.

Some Girls Will Make You Shiver

explicit. 4k. “How d’you suppose,” John said, in his normal John-voice, “how’d you think two girls go at it?”

On The Way To Work

explicit. 14k. How could Paul have so many dreams and one of them not come true? Paul and John, Hamburg and Liverpool, December 1960.

two of us (burning matches)

explicit. 6k. It won't stop raining. Paul doesn't know what his feelings are doing. John's practising his right swing. Somewhere along the way, they fuse together.

The Drainies

mature. 11k. Written for the prompt: John bullies Paul into wearing tight drainies and the result awakens something in both of them (Can also include some John vs Jim stuff since Jim didn’t approve of Paul wearing tight clothes).

Boy, You've Been A Naughty Girl

explicit. 49k. John makes Paul a bet. Paul takes him up on it. Crossdressing shenanigans and angst ensue, and ~feelings come out in the wash. 1961.

now and then (there's a fool such as i)

mature. 30k. users only. John and Paul on their trip to Caversham, Berkshire. April, 1960.

christmas lights (keep shinin' on)

mature. 12k. (prompt: paul takes john to the family christmas party in 1958) "I'd have you," Paul said, eventually, and John felt the air being knocked out of him. "If it was different. If we were different."

Come And Go With Me

mature. 94k. When two oblivious teenage boys meet for the very first time in the summer of 1957, a transcending bond to be passed on through decades to come makes its initial formation; a sanctuary, a home, a secret, a storm, a song, and a love to surpass the regular circumstances of time itself; it all starts in a city called Liverpool - but where will it take them from there?

also not to be that person but i WILL also whore out the first part of the series i'm writing w @forthlin here that's early days/getting together: i want you (every time that you're near)

[sualne]

carnis au accidental [???] but i was thinking about mimic luffy wanting to get closer and closer to law, and i'd been thinking since i've made the au about how he'd want to see law's scars (already various scenes on how it could happen, written notes and all, don't know which to pick), and then the fact that he knows there's something carnis still in him.

so i was thinking of another scene where he's inspecting the scars on his face and they both very close but it's not the scars he's really looking at, he's searching for that carnis leftover and says maybe mostly to himself "It's still inside you. That's just so unfair. Why, just why couldn't it have been me?"

And jokingly is thought: This is it folks, I broke the code, this is about bottom dysphoria!

But then! I thought again, the au is about feeling otherized, isolated and monstrous and wrong. i've already strongly considered the idea of luffy's death as a suicide metaphor. the mimic has been thinking about socially detransitioning because it keeps getting accosted by creeps and assholes and knows that luffy would've fought back most of the time but also knows it's much stronger now and doesn't want to get caught, he needs to lays low, it doesn't want to cause a scene, it has to go stealth.

law hates the idea because it's not enough that it killed luffy now it has to just go and erase that important part of him of as well but the mimic insist, he's still a man, he'll just fake being a girl to make it easier. but law doesn't understand because to him the mimic is faking being a man, it's faking being a person, it's faking being luffy.

the reason the mimic wants to lay low is because it doesn't want to get caught so it can stay with law and study him, understand him. law doesn't knows that, he's too freaked out by the fact that's it's a mimic! that it killed luffy and might possibly want to kill him too! but the mimic feels a kind of kinship with law because of that remaining carnis in him.

remains he got from nearly dying, from losing his family, from an attack to another carnis. and i thought, law is meant to be reminiscent of mimics. he had to regrow his face, he's (as always) autistic and doesn't always act as expected, he's also paranoid even when he happens to be right, he's traumatized to the point of psychosis, the encounter changed him. it was meant as a parallel to how ppl like to think murderers&co are all mentally ill because they can't possibly be Normal Like Them, they must be different, they must not be human, they're obviously monsters. but those victims, those who get to survive, the trauma change them, they can acquire all sort of neurodivergences, and when those same Normal People learn that a person has some kind of The Scary Disorder they think "Oh, you're a monster too! You'll (inevitably) hurt someone!" which lead back to being otherized ect.

there's also something about how law didn't just get scars from his near death experience but also what's essentially a disease.

and then back to the mimic, who recognize itself in him, in that disease, but it isn't quite right, it's not enough and it's also nothing alike at all and also he's kind of jealous? it makes no sense to the mimic itself but he can't stop thinking about law either.

it's also how a monster that's linked to what is theorized to be something close to a hivemind accidentally developing a sense of identity and facing some sort of existential crisis over the fact that it can't ever escape it's monstrous nature and doesn't want to either. and that sound like, very much like being trans and cracking your egg and realizing you're fucked cause that sure is knowledge to have about oneself and also it's in the fictional 90s of a op carnis au so good luck with that.

anyway that's a lot of words and im not sure how to phrase the rest it's just, this was supposed to be a casual au where i went "OHOHO look at the Tragedy" but i thought about it too long and now i feel like i've ended up with a millefeuilles of overlaying themes and im, i means sure. can't draw All that tho so what now.

[anxious-witch]

I would like to talk about Edwin, Charles and asexuality for a moment and why I personally like hcing Charles under the ace umbrella rather than Edwin.

To preface, this is obviously just my opinion, and if you like ace Edwin, relate to him or hc him as such, totally valid! I am just basing this off some of the narrative purpose that Edwin's sexuality plays in, and how in parallel, Charles' seems to fit into the flavor of ace-spec I am more familiar with.

Splitting this into two part bc again, I cannot seem to stop talking. This part talks about why I don't see Edwin as ace, part two will talk about why I can see Charles being ace/on the ace spectrum.

Edit: here's part two

Anyway! To the actual reasoning.

Let's start with Edwin. First thing we need to remember about Edwin is that he was born and raised in 1900s, and so that some of his behavior, habits and the way he talks about sexuality can't be judged by modern standards. Plus ofc, added layer of trauma of decades of hell.

So his dislike for being touched, his inital reaction to being flirted with etc, can all be contributed to that, imo.

But let's look at why I think it's important for his character specifically to experience sexual attraction.

Given his upbringing, and growing up with what was likely lots and lots of shame and repression around being a gay man, Edwin seems to completely block out any sort of feelings or wants he might have around other men. (Which is why he didn't realize he was in Charles until he was forced into situations) With his added trauma from hell, in which we know he, at least for a time, believe he deserved it because of being gay, I think it makes perfect sense he didn't wanna acknowledge any of it.

The first hurdle in his path was, of course, the Cat King. Now, you can love him, you can hate him, but I hope we can all agree that what Edwin experiences around him is sexual attraction. I touched upon that in my analysis of their interactions and how symbolic it is for Edwin's sexuality so I will try to keep this short. The way Edwin gasps and looks at the Cat King up and down when he transforms into just a coat and underwear, the way he recalls their meeting with the focus on the wink, on the CT's abs, the way he stares at his lips at their second meeting in ep 4. I don't think Edwin has feelings for the CT, except for maybe last ep where we can see a crush forming, but before that? That looks to me like pure sexual attraction.

It doesn't translate just to the Cat King either! We see it when CT transforms into Charles. Edwin is stunned, yes, but I think him pulling away and saying "Stop it!" Very sharply when he realizes it's a game is very telling. Sure, having romantic feelings for your best friend isn't easy to accept, but to realize you want him, in a sexual way, for even a few seconds? That must have been devastating for Edwin, due to him thinking of such desires as shameful.

Which I think is supported again when Edwin is caught by Lust in Hell, falling back into his shame, and Charles pulls him out. Because experiencing lust towards another man isn't a sin, but Edwin thinking it is is what briefly gets him stuck.

I am also not very keen on making Edwin ace due to the implication of "oh, Charles could pull him out of Lust because Edwin's love for him is pure and not lustful" because well. Being gay is no more pure or no more sinful than being straight. Gay people can have sex and it's not more morally wrong than a gay-ace couple that does not. With the rise of purity culture I feel a bit...uncomfortable with the implication of Edwin only coming to terms with his sexualityis due to the fact he only likes men romantically and there is no "sinful' sexual part. I think it kind of...defeats the purpose of his arc, especially the part where he meets the Cat King in the alley and the Cat King holds no power over him due to the fact Edwin is finally at peace with wanting him. Because that's okay. He can be attracted to him, be fine with it and not let it go any further(for now at least, hence idk what they are gonna do with s2).

So yeah. Again, not faulting anyone for any hcs or fics, if you like Edwin as ace, totally do your thing, I just feel like Charles is right there, with much more interesting dynamic when we apply ace lenses to him. But more about that in part 2

[shhrrroooommmmmyyyyyy]

HB Generational Trauma: Paimon → Stolas

→ Octavia

*Before I get attacked, nothing I say is to defend the actions described. I am simply trying to explain and make sense of it.*

Many fans approach the topic of Stolas being a good or bad father with either black and white-good or bad or completely gray answers. The black and white are pretty straightforward, usually going something like "he says this but does this anyway" or "he's neglectful", which are all valid opinions here. As well as the gray opinions, usually saying "he really tries, he just doesn't get it right".

Honesty, I can't say I disagree with any of these opinions honestly. I don't have evidence to back this up, but I have a feeling I know where the writers are going with this. I think they will, maybe sometime soon after hearing via's line in the trailer, have Stolas sort of "wake up" in a sense and realize what exactly he does. Get hit by the good ol' self awareness train, if you will. It's called character development.

I've seen many people call this bad writing but I disagree. I think that's the direction they're going for Stolas's character development. I think with the episodes so spread out, people forget we're only three episodes away from only being halfway through the series as a whole. There's still plenty of room for development.

Anyways, back on topic. Let's look at Paimon and Stolas from the Circus episode. I love the Loo Loo Land parallel with it.

Paimon enjoying himself from home while Stolas is miserable and clearly doesn't want to be there. The only thing that gets him through it without crashing out is Blitzø. Paimon seems to not notice he's even there at all until he starts enjoying himself watching Blitzø. And when he figures out what's making him so happy, he literally buys Blitzø later to keep himself from having to deal with him all day. Of course Stolas is too oblivious and distracted by Blitzø to realize, but that makes complete sense seeing how oblivious he is as an adult.

So now let's look at Stolas and Octavia in the Loo Loo Land episode.

Stolas is enjoying himself, but actually present. Him actually being there is an improvement; however, Octavia's not enjoying herself. She already didn't want to go because she was too old to enjoy it. And on top of that, Stolas flirting with Blitzø the whole time made her uncomfortable (which he was also too oblivious to realize).

I think the parallels here are interesting. Overall I think the writers ave done an excellent job of writing generational trauma, hence the title of this post. Now let's look at Stolas' line from Western Energy:

This line made a slight change in their dynamic from my perspective. It's clear he loves her and would do anything to protect her. Much different from Paimon. I think he tries so hard to be better than Paimon that he subconsciously ends up doing what Paimon does. This is called the ironic process theory or ironic rebound (psychology nerd here, as you can tell). However, the difference between him and Paimon is that he apologizes and recognizes that he made a mistake. He's trying. And even so, what examples of a good dad would he have had growing up that would've guided him in the right direction?

Although he keeps making mistakes, he is still trying. He's not prefect. I think Via knows this; nevertheless, it's hard for her not to get frustrated at him for making them sometimes. Especially when he promised he would do something with her and didn't in Seeing Stars.

No matter the extremity of the efforts made toward doing so, generational trauma will never be completely healed in one generation (look at me using smart words). While Stolas has made a pretty big dent in the healing process, it takes more than one person to erase the trauma. Although Via is as far as the line will go with her being confirmed asexual, I think Stolas has done a lot more for Via than people realize.

I have a few notes about Blitz and Loona on this topic as well. I might wait till after Ghostfuckers in case it gives more info to put in that post