#i cannot make it through a story with one character killing another

[proselles]

two sicko peas in a gay little pod

[ashintheairlikesnow]

Okay so here, I think, is why I think Red, White and Royal Blue succeeds spectacularly as a romcom, and actually to me is a better-than-average take on the genre.

First, the leads have absolutely scorching chemistry. They are incredibly believable as two men absolutely infatuated with each other. They each kiss like drowning men shown water, right down to how each grabs at the other, at hair or back or neck and face.

They each have developed their character having a specific characteristic even when flirting or kissing. Henry grabs Alex's hair, for example, every single time, in a way that makes it clear he spends serious time thinking about that hair.

Fair enough, Henry.

They also do something even goddamn better.

They are friends. They are believable as two people who could actually get along long enough to fall in love.

They are allowed to become FRIENDS.

They are given time to get to know each other before they get physical. You can feel their interest in each other growing. And, to my opinion, you can tell that Henry is feeling Alex out through texts to see if the interest might be reciprocated even though he thinks it can't possibly be.

One thing that kills me about romcoms is how the leads will have witty "sexy" banter but don't seem to actually like each other. They are enemies who fall into bed but aren't really believable as lovers.

Henry and Alex are believable, because they... Well. They're impossibly silly even when tearing at each other's clothes. They have awkward moments.

They laugh.

Alex laughs in bed. He holds Henry in a way that is romantic, openly so. Henry is overcoming the conditioned hesitation and avoidance he has, his smiles and warmth and laughter come with rare vulnerability - Alex is a man who throws himself head first into life and has no such compunctions in the moment. He laughs because this is awesome and Jesus Christ, Prince Henry is too hot to be real.

They like each other, they stumble, they laugh.

But also, another reason this works so well?

The sex scene isn't scorching.

Watching the sex scene felt realistically intimate. It felt like I had walked in one real people and needed to leave. It was intense in a way that felt like something I maybe wasn't meant to see.

It was filmed so well. So much romanticism and deeply felt adoration in a simple grasping of a hand, the look in soft eyes, a hand pressed against a back. The edge of a knee just in frame. Looking up and looking down.

It felt like we walked into their room during and saw them both laid utterly bare.

Henry's look of vulnerability and nerves and pleasure, Alex looking slowly over his face to take it all in. Moving slowly, then, when everything they do before this is hurried or hidden.

It works as a romcom because you believe 100% these two men could get to like each other, fall in love, and stay that way.

You believe Henry's very real terror of rejection from the public because he already knows his family, beyond his sister, will reject him. You believe that Alex is a headstrong idealist who is sure that you can bulldoze through any wall too tall to climb.

And you believe that between the two of them, they can find a way around the wall entirely.

This movie is a master class on how a movie can get you to suspend so much disbelief if the leads sell their characters. The importance of believable chemistry.

And also... Isn't it nice to see a queer love story in a world that is, in some ways, just a few shades better than our own?

P.S. you cannot tell me Stephen Fry did not chew the goddamn scenery in circles all around everyone during his single scene. That man was having a ball.

[pirateshelly]

One thing that really fascinates me about interview with the vampire (the show) is this sort of tension between power and powerlessness in all of the characters. Because it doesn't present becoming a vampire as something that just gives you power and magically makes you completely detached from all human concerns and struggles.

And that seems to be something Lestat does very much want to believe, and he's in enough of a position of privilege that he's able to convince himself it's true, and it's a fundamental area where he just cannot understand Louis because Louis CAN'T pretend even if he wants to. (And of course Lestat cannot ACTUALLY separate himself from "human troubles" the way he likes to think he can, he just has an easier time pretending than most). Because as much as becoming a vampire grants these characters supernatural power it doesn't just magically take away the very tangible human ways that they were previously vulnerable or powerless.

Becoming a vampire doesn't negate Louis' struggles with racism; in some ways it amplifies them with how he is alienated from his own family and community; his closest connection becomes Lestat. He loses his economic independence and becomes socially dependent on Lestat in a way he wasn't to anyone as a human because in some ways becoming a vampire made him MORE vulnerable, despite granting him physical strength/speed/etc. The promise of freedom in vampirism Lestat presents to Louis (that I do think he does genuinely mean, but "freedom" means very different things to Louis than it does to Lestat) is never fulfilled.

Likewise Claudia learns the hard way with Bruce and later with the coven that she may be a vampire but the world still looks at her and sees a vulnerable young black girl and that will always put her in danger.

Claudia rescues Madeleine then turns her into a vampire, but rather than protect her from future harm the "crime" of turning her becomes the very thing that gets her killed by yet another angry mob.

And 514 years as a vampire will never be enough for Armand to truly trust or believe in his own power. Because the first 200 or so years of his life he was literally never once allowed any agency at all over his own identity or his own body (child slave sold to a brothel, sold to an abusive master, captured and violently indoctrinated into a vampire cult for centuries). No amount of material strength and power is going to undo the psychological effects of that. (And I know some people like to read his frequently passive demeanor as simply manipulation and a way of catching people off guard (because how could someone so old and powerful possibly feel a genuine sense of fear/vulnerability/etc 🙄) but to me that's an incredibly disingenuous reading of him. But that's a different rant for another time!). Being a vampire does not save him from being horrifically abused, nor does it save him from the lasting emotional effects of that abuse.

And I think there's something interesting to be said about the way that, in order to survive safely, they have to feed on the most vulnerable members of society (people undesirable and therefore least likely to arouse suspicion) in order to go unnoticed. If they want to live they have to prey on those vulnerable in possibly the same ways they themselves once were (and in many ways still are).

There's a frequent argument I dislike that we shouldn't be viewing any of these characters through too human of a lense because they're literal monsters (to be honest it's an argument I see most often made when people simply don't want to talk about the show's complex depiction of racism/misogyny/abuse/etc and used to dismiss those as issues "too human" to be relevant to a story about a bunch of monsters with a supposedly alien sense of morality), but I think the show itself makes a huge argument that for these characters there is no escaping or separating themselves from the very human struggles and vulnerabilities that marked them before they ever became vampires. It's like a sort deconstructed power fantasy.

[beware-thecrow]

I fucking hate BNHA The last panel about "granma is here" in fact further proves my point on another post of how empty and nonsensical BNHA became in the last arc because AfO wanting Tomura from the very beginning made impossible for him to be saved anyway, which means all his beef with the heroes became unjustified and his speech about violence and heroes and villains held no importance in the end. Why?

Because you cannot have a character built over the premise that society was so corrupt and selfish that put a little boy in the bad bad villain's reach for 5 arcs, to then say "oh, wait. He was fucked anyway because the bad bad guy was behind everything all along"

A bad bad guy not even all might in his prime could defeat, so it doesn't matter if people would or wouldn't help others. "It's all bad bad guy's fault anyway and he's practically immortal." Perfect, now we know granma didn't stand a chance against AfO, he planned this.

The whole idea of a society that relies on heroes too much instead of everyone doing their part from kindness falls like a house of cards if you have an evil so corrupt that none of said kindness will mean a thing. The moment Horikoshi went from "Tomura was found by AfO" to "Tomura was planned by AfO" the core theme of his series crumbled down. The league as a device lost its meaning, the characters that composed it became unjustified because whatever motivation they had was in fact a manipulation from the greater evil. And this applies to everyone.

What's the point in Toga and Twice calling out the lack of help for people with mental illness and problematic quirks if the message still is "If you do bad things out of despair no one will help you and you'll get killed." And yes, Toga died loved, Toga wanted to be loved, but she didn't wanted to die?? She was literally an abandoned child who found a family and ended up dying giving blood to the same girl she stabbed. And yeah, it's kinda poetic she died giving blood instead of taking it, but what was the point if she doesn't get to know she's loved? Further more, are we really to believe Ochako loved Toga? A girl she literally didn't know. Sorry, but once I got lost in a mall and a police officer helped me find my mom, that doesn't mean the officer loved me. And yeah, Ochako tried her best to be a good hero, but it's not about what the characters do, it's what the story tells you it happens with what they do. The story just told you the ill and abandoned die in the end before anyone helps them. And they die hunted by the police. What's the point of Touya as a whole? oh, wait. I know, it must be very awful for Endeavor to be such a bad person, his child ended up incapacitated. Very hard on Endeavor. Fuck Dabi being turned into a piece of charcoal, IT'S HARD ON HIS DAD.

What's the point in Spinner pointing out discrimination and people following him if in the end we got that he should have stayed in his lane, in his room, friendless because he only went out to be seen by someone who accepted him, just to have that person tortured in front of him before he was killed. And for what? For a teen to tell him "Yo, bro. I punched your bestie to death, make a comic about it. Btw you'll be staying in jail forever. So so sorry for you guys." Proving once again, murder is okay if you are on the right side of the story. No matter how much compassion, Tomura showed Spinner, or how much he suffered through life. Heroes had the right to kill him, and there was nothing Spinner (who legit loved his friend) could do about it because AfO had taken over. Again, another good character turned pointless, with a pointless point of view, with a pointless conclusion because he can tell the story of Tomura Shigaraki all he wants FROM JAIL, but under the public eye Tomura will go down as an insane mass murderer either way since looking at him in any other light would inevitably make a target of Izuku for killing him and that won't happen. You cannot have "the best hero ever" and "he killed this dude that was kinda right" in the same sentence. It doesn't make sense. Not to mention his case against discrimination went nowhere since everyone who followed him became a villain and the only person who actually makes a point about discrimination ends up being Deku on another, totally different chapter that had nothing to do with Spinner. And...he's a hero so he can say whatever he wants, we go back to "questioning bad, unless a hero says it" and "people are really that horrible in BNHA universe".

Tomura's case it's even more fucked because even when he said he didn't want a future, every single wish he had fell flat. His hatred for not being saved as a child proved to be out of anyone's control, his desire to destroy society didn't land because nothing really changed. There are still schools for child soldiers, and people are still not questioning the violence heroes use to keep the status quo, and certainly no one is wondering how is that a couple of heroes were able to kill a couple of villains (because so far Hawks still has a job). His friends ended up dead or locked away, and the child in him that begged to be saved ended up...being not. In the end, we got a suffering festival for Tomura, from his granma being pushed to drop her kid, his dad being tricked, his parents getting killed in front of him, Mon-chan and Hana's memory squeezed dry and young Tenko asking for help while Tomura was assaulted by his creepy guardian for 200 chapters straight just to tell us that Deku at sixteen was a great hero for putting a twenty one-year-old dissociated guy out of his misery like a euthanized dog. And for what? To finish a guy who was infatuated with his dead brother AND THAT COULD HAVE BEEN EXECUTED IN JAIL LIKE...300 CHAPTERS AGO, since the manga already made the point that villains can be executed with little repercussion, and it can be justified if said villain it's a threat. Then...why was AfO alive to begin with? Oh, I guess this is something we can trust to a 16 year old instead of... the government or whatever. And yeah, these are tragic figures, they certainly are, but you can hardly claim that they achieved anything in the end because the first premise of the league, why it was formed and why they joined was

To live as we want/are. And now they are dead, or locked away, or bedridden crispy for something that was planted by someone else from the very beginning. And what they believed didn't change anything in the end because it's not like the public saw them do something meaningful but, again, they are being told what to believe, by whom? BY THE HEROES. Are we really arguing that Iguchi's comic will change society? ARE WE FOR REAL????? Have you ever read the story of Jesus Christ? he died for our sins by Marvel. And on top of that as the last nail in the coffin to prove that NOTHING changed, Hawks really said rebranding + target audience =📈🤙🏼 StOnKS✨ I wish I was joking.

[hazamacore]

The Interweaving of Desmond & Eloise

an analysis on how they have been established as a pair

Collection of all essays so far

At the stage we are currently at, the end of chapter one with around thirteen hours of content to watch and even more outside of direct canon to examine, Desmond and Eloise have established themselves as a pair in a similar vein to Damon and Eva or Mark and Jett. Their pairing feels obviously deliberate and indicative of deeper meaning, which we’ll no doubt see more of as the game proceeds. In this essay I want to cohesively lay out all of my current thoughts on them - developed from TikTok posts I have made (x / x / x) with other newer points from my notes that do not appear in said posts. 

While I personally enjoy their relationship in a romantic context, this is not intended as a ship post, and you are of course free to interpret it how you like. It’s just looking at how they relate to each other as characters and their canon relationship and giving my thoughts on what that means for them! Regardless of how you interpret the context of their relationship, that these two are being set up as close is undeniable.

SPOILERS FOR CHAPTER ONE AHEAD!

Firstly, I want to establish the significance of pairs in Project: Eden’s Garden overall. So much about the game circles back to pairs: the killing game ‘officially’ ending when only two remain, everyone waking up in pairs, Toshiko being the Ultimate Matchmaker, Tozu and Mara being a pair, bunking in pairs, splitting off into pairs… and much of this can be put down to the theming of the Garden of Eden with Adam and Eve. With everyone’s animal motifs, another Biblical story in Noah’s Ark comes to mind. The point is that the abundance of pairs is both relevant and very deliberate. 

Fundamental design

From the moment we first see them in the train CG, Desmond and Eloise are together. When we first formally meet them, they are the only ones in the courtyard. They are a pair from the beginning in the same way as Mark and Jett and Wolfgang and Grace. 

And, on first looks and first meetings, I’ll begin my thoughts on how they as individual characters relate to each other as foils with their visual designs and names. Being fictional characters, there was an entire design process filled with intent that went into creating them, and I really think Desmond and Eloise were created with the other in mind to make them both contrast and complement each other. 

Their contrasting colour schemes of blue and black VS red and white immediately relate them to one another and put them in proximity of one another. Through their colour schemes they have been designed to be seen next to each other. 

It is also their colour schemes that give instant insight into how they contrast each other in personality. Desmond’s blue suits his cool, composed disposition, his observant nature and how, although he is more reserved, he still integrates with the group and is a primary contributor. Throughout the situation and throughout all the suspicion he endures based on his talent, Desmond remains calm, in part, I think, because he knows he cannot afford to appear angry lest it confirm people’s biases. Considering how prominent that idea of prejudice has been with Desmond so far, I also heavily doubt him being designed as Black is coincidental or without connotations. Especially when you consider just how irrational the suspicion and assumptions placed upon him are. 

(Desmond’s third Free Time Event, talking about how difficult a confined space like the academy is for him) Damon, internally: And yet, that cool demeanour of his never falters - even when talking about his situation. Is this what he means when he talks about discipline…?

Conversely, Eloise’s red speaks to her being more volatile - prone to outbursts of fear, panic and, notably, rage. It is interesting to me that Eloise’s colour scheme is primarily white/grey, with her reds as secondary and, in her clothing, beneath her uniform. But her eyes, the “windows to the soul”, are red. Eloise at first impression seems only timid, and this leads both characters and audience alike to assume that she is weak, and she is also reserved and rather closed off especially in conversation with the likes of Damon. But Eloise has a strong fortitude that manifests later in chapter one as she gains confidence in the setting - standing up to and threatening Grace, leading the accusations towards Grace in the trial, and her Free Time Events most notably. Her red is closed off until triggered. Damon notes that “the most confident she’s ever sounded” is when she’s expressing her belief that the runners of the killing game should receive the death penalty which so starkly contrasts with Desmond’s focus on resolving things peacefully. Similarly to Desmond being Black, I also heavily doubt that Eloise being designed as fat is without connotations regarding this theme.

The meanings of their names push this even more blatantly. Desmond’s name is of Anglo-Saxon origin and means “Great defender” which adds to how spelled out the theme of guarding, protection, defence becomes in his character during chapter one - notably in relation to himself and Eloise. In his blackmail, which I will go into in more detail later, it explicitly says he “guards the only one he trusts”. This defence finds contrast with offence in Eloise’s name being of French and Teutonic origin meaning “Fierce warrior” which speaks to how assertive she becomes when pushed. Her Free Time Events serve as good indication with how she says outright to Damon that she plans to fight back if targeted for murder and expresses anger when he starts “prying into [her] personal life” in an outburst of “It’s none of your f-fucking business!”. Down to their names they present as foils.

Linking to this talk on personalities and first impressions is how these two contrast in how they are perceived by other characters and audience alike - their shared theme of “judging a book by its cover”. 

While Eloise has a talent centred around combat and wielding a blade, she is not nearly suspected the same way Desmond is due to her appearance as pale and soft in conjunction with her timidity, with the decision to make her fat adding to this as well. She is actually afforded first impressions based on personality, where Desmond is instead defined by potential threat in his marksmanship - the first thing Wolfgang ever says to him is, “With all of those weapons, I must ask…you…haven’t killed anyone, have you?”, and Eva’s belief that everyone is out to get her and have marked her as an easy target merges with preconceived notions about Desmond’s character and talent to lead her to assert that telling Desmond about his blackmail could “put [her] in danger”.  Contrasingly, in building up to their confrontation of Grace, Damon perceives Eloise as “bumbling”, “uncoordinated”, and not of “any help in a verbal shutdown”, and he proceeds to be utterly proven wrong - with the use of “uncoordinated” in reference to the Ultimate Fencer giving great indication of his poor judge of character. This contrast, then, makes it notable how they stick together and understand each other in a way others do not. 

(RE his bunking idea: Eloise understands what Desmond’s intentions are while others assume ill of him) Cassidy: I mean - hey, don’t expose us! That’s unfair! Desmond: Hold on, I’m not trying to expose anyone…! Eloise: Um, I think I get what he’s trying to say. Eloise: You just want everyone to be honest with each other…so we can cover all our bases…right? Desmond: Yeah…that’s right… (During the chapter one investigation as Grace guards Wolfgang’s room and denies everyone entry) Desmond: That’s what I tried telling everyone else, but they pretty much gave up. Jett and Mark went to the dining hall, Diana went to the laundry room, and Toshiko and Ingrid went to the courtyard.  Desmond: Eloise and I, though…we’re not gonna let this slide.

When going through their Free Time Events, it becomes clear that Desmond and Eloise even contrast each other when it comes to their backgrounds and honing of their talents. Desmond comes from a notably wealthy family who have a history of Ultimate Marksmen - that talent being as hereditary as literal genetics. From the start, Desmond has been showered in opportunity - he mentions having an expansive field that puts the academy’s courtyard to shame, a personal shooting range, a personal tennis court, and a personal swimming pool. He used to attend competitions on a local and regional scale until he got the opportunity to compete in the Olympics. 

Comparatively, Eloise had no such influence when it came to getting into fencing and simply joined a club and her honing of her talent was defined by a lack of opportunity. She rose through the ranks via forfeits - her opponents were so afraid they point-blank refused to fight her and so she had to take matters of improving into her own hands by practicing alone or with her teacher. Her lack of opportunity stems from how her family is certainly not as well-off as Desmond’s and she comments on giving her prize money to her mother and sisters. This is a point of similarity between the two - they both disregard the money they have earned through their talent for themselves and instead place focus on their families. Desmond cares more about making his parents proud, and Eloise cares more about giving the money to her family. 

Beyond every aspect in how Desmond and Eloise foil each other is how similar thematically they are in a way that allows them to understand and trust one another in a way they don’t seem to lend to anyone else. They understand that the other is perceived by strangers in a way that doesn’t necessarily align with their fully realised selves, Desmond’s calmness soothes Eloise’s volatility, Eloise’s sword takes the front while Desmond’s guns and bows take the rear - they are an inversion of each other and interwoven as a pair.

To finish off with their fundamental designs, official art for Project: Eden’s Garden is, in my opinion, interesting to look at. Desmond and Eloise are depicted next to or interacting in some way with each other in every piece of official art they share which pushes them further as a ‘pair’. It really emphasises how rarely in-game they’re apart - with the only instances of that being during nighttime, every free-time after the first one, and most prominently the Prologue’s investigation. Otherwise, they are always at least in the proximity of each other. I don’t think official art and seeing which characters appear together the most and how exactly they are interacting is insignificant at all - two sets of Halloween official art stand out to me as entwining Desmond and Eloise by their talents. In one, Desmond is dressed as Link from the Legend of Zelda and wielding a blade and, in the other, Eloise is dressed as Artemis from Greek Mythology - the Goddess of the Hunt who was known for her archery, a choice that becomes especially interesting once you remember that Artemis’ fellow archer brother, Apollo, was heavily associated with swans. 

Blackmail, blackmail

“With his weapons at hand, Desmond guards the only one he trusts.”

Since I posted my initial interpretations of this on TikTok, I’ve seen more discussion on it, and I don’t think it is controversial at all to suggest that the “only one” referred to here is Eloise. The only other options, to me, are this “only one” being someone outside of our main cast or Desmond himself. However, I have found myriad evidence that points towards it being Eloise that I’ve spread across different videos on TikTok but can now relay all in one place here. 

First, what is meant by “weapons”? As the Ultimate Marksman, Desmond has access to guns and bows in the literal meaning of that and this is how Eva, Damon and everyone else interprets it. It is also true - Desmond is always depicted with his quiver slung over his back, so he does indeed have his weapons at hand. However, there is another way of looking at this - Desmond’s “weapons” do not have to be literal. 

During chapter one’s trial, Grace admonishes everyone for “trusting Desmond so easily” after he defends himself from accusations based on the taser gun and Damon has the option of commenting on Desmond’s charisma that persuades people to trust him (or… “charm” as he puts it). Desmond’s “weapons” could refer to his rhetoric, especially with how he utilises the angle of ethos in comparison with Damon’s logos and Diana’s pathos - that being, focusing on getting across and defending his character, something that as previously discussed Desmond is exhaustively used to doing. His “guard” could manifest in him coming to this “only one”’s defence in verbal bouts just as much as it can be taken literally, something that we have in fact already seen if you subscribe to the idea of that person being Eloise.

Next, the meaning of “trusts” should be dug into. It is easy to assume that because Desmond behaves cordially with everyone and seems to possess a vested interest in getting everyone out of the killing game and to safety this means he is openly trusting in the way Diana is, but there is a lot once you start looking that proves otherwise. Desmond does not vehemently deny the possibility of murder like Wolfgang or Diana do but instead accepts the reality of their situation and approaches it with the knowledge of murder in his mind. He is against exploring the Alpha Sanctuary due to whatever Tozu has hidden within it, he takes note of the dangers of the pharmacy and what drugs could possibly be used to murder - even saying that “we should all start paying more attention to our food” - and is the one to come up with the bunk buddies idea due to the broken locks. Desmond does not trust that his peers absolutely will not be tempted by murder. Most illuminating is during his second Free Time Event when Damon tries to use the trustworthiness of the other students as a debate topic and Desmond becomes noticeably uneasy and closed off. 

Damon: How about… we debate the trustworthiness of the other students? Desmond: Huh…? What do you mean? Damon: Isn’t it self-explanatory? You and I argue about whether or not the others are trustworthy. Desmond: Uh… I don’t know, dude. I’m not really comfortable with that. Damon: Why? Desmond: W-what do you mean why? I can’t just say my… (own emphasis) Desmond: I mean, I can’t just throw doubt at people for no reason. 

Despite this, he still wants said peers to trust him. His motivation to escape the killing game and prevent murder, I believe, is genuine - however, he remains beneath the veil of hypocrisy in how he expects everyone to trust him without him trusting them. 

So, how does this link to Eloise? 

From the prologue, the theme of Eloise and Desmond being each other’s alibis and backing each other up is established. Wolfgang asks Desmond to keep a shaken Eloise company and he does so for the duration of all the other introductions. When the fake body of Cara is discovered, Eloise insists that she heard no screaming from the courtyard nor did anyone run out, and calls on Desmond to back her up, which he does. This is the first exchange of trust and reliance between them, and it only strengthens during chapter one. 

The first major instance is in relation to Desmond’s idea of sleeping in pairs. Knowing his distrust towards his peers and that he has this one person he has an interest in protecting, it is notable both that he would be the one to raise concerns about the broken locks and that he would proceed to input that, “As the one who suggested the idea, I’d say we just pick our buddies ourselves-”. Desmond wanted to choose his bunk buddy, ostensibly so he would be able to more readily “guard” them, and this, I think, is crucial as evidence that the “only one he trusts” is someone among the class. While he doesn’t respond outwardly negatively to Toshiko’s desire to be in charge of the pairs and Ingrid’s subsequent assertion that they split by gender, this is easily explained by how intent he is on maintaining a calm disposition. 

Eloise’s behaviour in this scene is equally noteworthy. She defends Desmond from accusations that he’s making people vulnerable and that she harkens to ideas of honesty and understanding Desmond’s intentions speaks to a building closeness between them. Much like Desmond, Eloise appears selective with her trust through how focus is repeatedly placed on her as ways to assign bunk-buddies is discussed, combined with how her character profile notes how she is “always ready to make her escape if anyone gets too close to her”, which I believe can be applied in both a literal-in-regards-to-fencing and figurative sense. We can discern from her Free Time Events that Eloise holds her privacy close to her and that she has certain people that she openly does not trust nor like - she doesn’t want to have a decision like who is going to be with her at her most vulnerable just chosen for her. 

Toshiko: Fear not! In all my infinite wisdom and kindness, I shall pair the rest of you! Eloise: Ah… that’s not really necessary… (...) Ingrid: Strangers’ll usually be more comfortable spending the night with the same gender. Eloise: Then… we’re splitting it by gender…? (...) Wolfgang: We won’t have Ms. Kayura’s help, but I’m sure we’ll figure something out. Let’s go. Eloise: … 

Furthermore, it does not feel at all coincidental that the scene directly after Desmond’s blackmail is revealed by Eva sees Grace pressuring Eloise to hand over her blackmail and Desmond attempting to defend Eloise before she reassures him. Eloise’s silence after Grace says that she better not have shown anyone speaks volumes - from the map during Free Time and their alibis for the time of Wolfgang’s murder alike we can explicitly see the amount of time these two have been spending around each other in the courtyard.

Grace: That fencer girl has been giving me the side-eye ever since the blackmail was announced. There’s no other explanation! Grace: Give it! Desmond: H-hey, stop that! Eloise: It’s okay…I’ve got it…

On the morning of Wolfgang’s murder, Desmond and Eloise spent all their time together in that courtyard, paralleling their positioning in the prologue. Just as then, they are each other’s alibis and they are the main one backing the other up. They proceed to stay by the other’s side literally throughout the investigation and figuratively throughout the trial. It is notable that textually Grace and Kai underscore how defensive Eloise and Desmond have been of each other throughout chapter one’s investigation and trial to accuse them of working together - ostensibly, Desmond being the murderer and Eloise his accomplice. When the two of them and Damon confront Grace during the investigation, they are largely backing each other up and adding to each other’s points while Damon chips in on his own - even going as far as to threaten Grace, knowing that she was shot at by Mara before.

Eloise: Um…for us to believe that, we need to see it ourselves… Grace: You think I’m lying? Desmond: There’s a chance you could be, unfortunately.  (...) Eloise: Also, um…couldn’t this be considered breaking the rules…? Eloise: Tozu wants this game to be fair, but… being prevented from searching every room doesn’t seem very fair… Grace: …Even if it isn’t, what are you gonna do? Eloise: … Eloise: I’ll…report it to Tozu. Grace: A-ah? Desmond: Nice idea. What do you say we look for him now? Desmond: If Tozu agrees this is sabotage, he might call Mara to help…

In the trial, when Eloise first accuses Grace, Desmond backs her. When Grace’s innocence is proven and Eloise apologises for accusing her, Desmond continues to press Grace when she shouts at Eloise by insisting she “must know something about [Wolfgang’s] last known whereabouts”. When Desmond brings up the golf clothes and equipment in Wolfgang’s room, Eloise backs him. When Mark accuses Desmond of having access to weapons like the taser gun, Eloise reacts before Desmond does. During the nonstop debate about the taser gun, Eloise brings up her and Desmond’s shared alibi as they were together the whole morning. If the player takes the Pathos Route during the trial, it is Eloise’s voicing of her doubts in voting Diana and wanting to hear her side of the story that then leads into Desmond’s own agreement to hear her out. This series of events, I think, proves a degree of trust that has built between the two that they have not extended to anyone else - even during Eva’s execution and Diana’s speech, the two are depicted together. 

The nature of Desmond’s blackmail combined with how he and Eloise are written in this chapter as consistent supporters of each other and consistently shown together leads me to be rather firm in my belief at the moment that Eloise is this “only one” his blackmail refers to. Their relationship is given as much focus as Damon and Kai and Wolfgang and Grace, which indicates the importance of it and really, really doesn’t bode well for their survival. My personal speculation at this current moment sees Eloise killing in self-defence, in which instance we will see Desmond’s ‘guard’ come to fruition. 

Sharks and swans

It can’t be a P:EG analysis without looking at the characters’ animal motifs - especially with how chapter one confirmed their relevance with the focus on Wolfgang, Eva and Diana in particular!

Desmond’s animal motif is a shark as represented by his shark’s tooth earring and this is immediately notable in tying into the dominating theme of prejudice and “judging a book by its cover” that has presented itself in contrasting ways in his and Eloise’s characters. Desmond being instinctively assumed to be dangerous and a ‘threat’ due to his position as the Ultimate Marksman directly correlates to how sharks are perceived in the media and, by extension, society. One way his shark motif is relevant lies in how it conveys this theme of being misunderstood. 

As previously noted, the first thing Wolfgang ever says to Desmond is an interrogative question about whether or not he has killed someone before, it does not take any amount of mental gymnastics for Eva and Damon to agree Desmond’s blackmail makes him dangerous, and it does not take much convincing for the majority during the trial to agree on his likelihood of murdering Wolfgang due to the taser gun originating from his room. Surely, we are instantly reminded of how sharks are similarly misunderstood as obvious killers due to how they have been negatively sensationalised by the media - leading to a general consensus in society to view them as an inherent threat. 

“Sharks have been vilified in human culture for centuries, and negative attitudes toward sharks continue to pervade mass media, perpetuating stereotypes, often conveying inaccurate information [7–11]. One way the public’s fear of sharks, which resonates deeply and viscerally, manifests itself is a pervasive overestimation of the likelihood of being ‘attacked’” (Andrew Nosal et al, 2016, The Effect of Background Music in Shark Documentaries on Viewers' Perceptions of Sharks, p.2)

Eva asserts that Desmond finding out about her having his blackmail could make her a target and, generally, the other characters are quick to assume ill intention from him. For example, him bringing up how everyone’s locks to their dorms are broken raises accusations of him exposing people and him testing people’s locks sparks similar reaction - with Wolfgang even denying him future agency by saying Desmond should go to him first. 

Desmond’s shark motif combines with how his talent is perceived to beg us as viewers to deconstruct assumptions of him being this ticking time bomb waiting to explode - to pick apart preconceived notions, examine what makes you think that way and why. It is simultaneously fascinating and frustrating to see predictions from fans about how the rest of the game will play out position Desmond as an ‘obvious’ killer due to his marksmanship and because his animal motif is an apex predator painted as a “man-eating monster” by the media, ignoring how his talent has been handled thus far and contributing to the dominating narrative about sharks that does not reflect reality. 

The majority of shark attacks on humans are results of curiosity bites on the shark’s end or mistaking humans for, say, seals. In personifying sharks and acting as if they have the same moral decision making as humans and go out of their way to maim and kill, they have become severely endangered themselves. In an article on shark conservation that analysed how sharks are portrayed in American and Australian media, it was identified that there were “four types of risks from sharks and fourteen types of risks to sharks in the articles” and that “Forty-four percent of the articles mentioned elevated public risk perceptions or fear of sharks” (Bret Muter et al, 2012, Australian and U.S. News Media Portrayal of Sharks and Their Conservation, Conservation Biology, Vol.27, No.1, p.190), which is to say that humans are more of a risk to sharks on the whole than sharks are to humans such as through overfishing, finning and habitat destruction and that this can directly parallel the ‘attacks’ on his character that Desmond has endured so far in the story.

In direct contrast in this respect, there is Eloise and her swan motif represented by her hairpin. The dominating cultural perspective on swans is that they are uniquely beautiful and elegant, they are symbols of purity and aristocracy and are a protected species in many countries including the US, UK and across the whole of the European Union. This places them at the utter opposite end of a general consensus scale to sharks and their features in popular culture reflects this from Hans Christian Andersen’s Ugly Duckling fairy tale to Tchaikovsky’s Swan Lake ballet.

Swan Lake is of particular note to me due to its duality of the white and black swan that can be applied to Eloise’s characterisation. Through her white clothing, fencer-defined elegance, and timid demeanour, Eloise brings to mind Odette the white swan - or the Swan Princess - who was cursed to be a swan by day and woman by night and who is revered for her beauty and purity. Contrastingly we have Odile, who impersonates Odette while she is bound to her swan form and is the ‘black swan’ - more conniving and wicked. Traditionally, Odette and Odile are roles performed by the same ballerina and so represent this idea of duality even more. Now, Eloise is neither conniving nor wicked, but she certainly is not the ‘Odette’ that people perceive her as on a surface level, and has assertive and, really, quite aggressive talons that unsheathe when she deems necessary. 

(Eloise’s first Free Time Event, unprovoked) Eloise: If…if you ever try to do something to me… Eloise: …then…I’m going to fight back.  (...) Eloise: Once, I completely overpowered a person using just a pen… Eloise: And, uh…if you don’t believe me… Eloise: …I…can give you a taste of what that person felt. 

Additionally tied to this is the Medieval moralist view on swans as symbolic of hypocrisy. The idea stems from Hugh of Fouilloy’s Aviarium where he asserts that swans’ white plumage concealing their supposedly black flesh is reflective of a sinner who conceals their sins with a faux pious front…this line of thinking of “white = morality, black = immorality” is notoriously flawed and susceptible to challenge, and this specific idea alluding to black flesh even more obviously so. However, as a spiritual Christian belief, it is relevant when considering Project: Eden’s Garden not least because the game’s religious allusions ask us to question the very concept of Eden and how Western institutions use religious imagery - especially in how they distort it and use it for their own narrative. Every image of nature in the academy being artificial highlights this. Thus, this old idea about swans and hypocrisy may be taken into account… it is not so much direct hypocrisy that relates to Eloise, but the theme of appearance not reflecting reality and a warning to “not to be deceived by outward appearances” (Natalie Jayne Goodison, Introducing the Medieval Swan, p.12). Eloise’s character profile outright tells us to “not be deceived” (by her “size”, but this can apply generally). 

And this neatly leads into the fact that swans themselves, despite their innocent and pure iconography, are fierce - especially when it comes to defending themselves or their nests. As Aristotle puts it in his (outdated by over two millennia yet still incredibly interesting) work The History of Animals, “[swans] will repel the attack and get the better of their assailant, but they are never the first to attack” (Trans. D’Arcy Wentworth Thompson, 9.12) and Eloise explicitly references this in her fight against her own underestimation and to combat the perception of her as weak both in form and fortitude. Despite what Damon believes, I refute the idea that Eloise’s volatility makes her emotionally weak because chapter one’s trial proves otherwise as does chapter one’s investigation that instantly sees Eloise disprove Damon’s idea of her. Speaking of Damon, it is interesting how he comes to respect and almost understand Desmond who is misunderstood as a threat by others much like himself, but cannot extend the same to Eloise whom he has no axis of relatability to. 

“Still, it is significant that the administrative and agricultural experts voiced concern that aesthetic, cultural, and sentimental ideas about swans guide the birds’ protection in a strange or illogical way, and the resources expert agreed that the main—if not the only—value associated with continued protection of the whooper is sentimental value.” (Shauna Laurel Jones, 2018, Feathered majesty in the grainfield? Conflict, conservation, and the whooper swan in Iceland, p.39)

Desmond’s shark motif presenting through a shark tooth earring is not merely an aesthetic choice and instead possesses symbolic connotations. It is the choice in his design of a shark tooth earring that allows us to connect indigenous beliefs about sharks to his characterisation, as in indigenous Hawai’ian culture, shark teeth are traditionally worn as protective talismans, and certain species of sharks in indigenous Hawai’ian culture also relate to the concept of ‘aumakua’ where under certain conditions a deceased person is reincarnated as a shark and acts as a “beneficent guardian spirit” (Leighton R. Taylor, 1993, Sharks of Hawai’i: their biology and cultural significance, p.19) towards their family, both of which link to the increasingly potent theme of “guard[ing]” in Desmond’s character. 

Similarly, we find ideas of “guard[ing]” with the swan, especially the idea of being guarded. Most blatant is the fact that swans are a protected species in many particularly Western countries such as the United Kingdom, the United States, France, Denmark, Germany, and Iceland, meaning it is illegal to kill or injure them. In a literary sense, we have the Finnish national epic Kalevala wherein the hero Lemminkäinen is tasked with killing a swan that swims and sings in the Lake of Tuonela that surrounds the underworld, but instead he is killed - not textually because he has attempted to kill a swan, but the context of swans as a protected species and how they are symbolically viewed certainly influences this narrative.

However, as a point of contrast, while sharks can be associated with life in the sense of survival and their integral position in ecosystems, keeping them intact, swans are associated overwhelmingly with death. Firstly examining the former, it is notable to me that Desmond’s animal motif is one heavily concerned with conservation efforts to protect against endangerment and extinction, conditions that are in no small part due to human impact. When one sees apex predator their mind tends to swipe to violence, to these creatures being bloodthirsty, instead of taking it for what it really is: an animal that plays an indispensable role in regulating ecosystems. Already, Desmond has cemented himself as a secondary contributor in trials alongside the likes of Jean, Ulysses and Wenona, and within the group he assumes a position not the extent of leadership like Wolfgang and Jean but certainly as a prominent initiator. Sharks have lived for millions of years and their survival is integral to the smooth management of marine ecosystems, to remove them would cause a disastrous knock-on effect. In tandem, the condition of its ecosystem is integral to the survival of the shark, which raises the aspect of Desmond’s Free Time Events that has him lament the lack of open space in the academy. 

“As apex predators, sharks play an indispensable role in regulating marine populations, maintaining biodiversity, and preserving the health of our oceans (amongst many other parts they play in the tapestry of life that is below the waves). However, despite having roamed our oceans for millions of years, they currently face a myriad threats that of our own doing, including overfishing, habitat degradation, and climate change.” (Melissa Cristina Marquez, 2024, Exploring the Intersection of Indigenous Knowledge and Shark Science)

Turning to the association between swans and death is the ever-omnipresent swan song. The myth that swans are silent their whole lives until just before they die, when they sing their haunting song. Eloise can be interpreted according to this in how “silence” can be applied to her initially reserved and shy nature, with the more she develops across the story akin to the theme of transformation found in many European folktales and, unfortunately as a result, becomes closer to death her development in becoming more openly confident will be her “song”.

My personal speculation at the moment is that Eloise will become the blackened through killing in self-defence - something I find fitting for her characterisation, predicted character arc, fencing talent, and swan motif all in one - and so her swan’s song will manifest as her final plight during her trial before she is inevitably sent to death. Relatedly, the conclusion of Swan Lake sees Odette, the swan princess, and Siegried, the prince, die together. I view Desmond and Eloise’s relationship to end in one of two ways - either one of them kills/is killed and the other kills/is killed the chapter after, or one of them kills/is killed and the other survives. Either way, they cannot both live. 

The silver Swan who living had no note, When death approached unlocked her silent throat; Leaning her breast against the reedy shore, Thus sang her first and last, and sung no more: "Farewell all joys! O death come close mine eyes, More geese than swans now live, more fools than wise." (Unknown author)

And so arrives the final point to wrap this whole essay up in one neat bow: Eloise’s swan motif presents in her unwavering loyalty as a pair with Desmond. This is so unsubtle that it is underscored by Grace and Kai in the chapter one trial, sending accusations of them working together to murder their way. As has been reiterated, the two are seldom not depicted together, react to accusations towards each other with the same intensity were they to be directed at them, and defend each other with a consistency they do not afford any other character, with only Diana coming close in Eloise’s case. Like swans who mate for life, Eloise and Desmond have essentially become pair bonded. This happening so quickly is not necessarily a cause for doubt either in my opinion as that also connects to swans who bond as a pair even before they reach sexual maturity at twenty months despite living for a good two decades, and we know Eloise and Desmond’s time is far shorter than that. 

“Someone has to leave first.  This is a very old story.  There is no other version of this story.” (Richard Siken, War of the Foxes)

With everything we have of them so far, regardless of how Desmond and Eloise’s individual stories play out, they will be in one way or another entwined. 

Thank you for reading, and I would love to know your thoughts!

BIBLIOGRAPHY:

Aristotle, Thompson D. W.,The History of Animals

Goodison N. J., 2023, Introducing the Medieval Swan

Hugh, 1172, Aviarium

Jones S. L., 2018, Feathered majesty in the grainfield? Conflict, conservation, and the whooper swan in Iceland

Lönnrot E., 1835, The Kalewala

Marquez M. C., 2024, Exploring the Intersection of Indigenous Knowledge and Shark Science

Muter B. et al., 2012, Conservation Biology, Australian and U.S. News Media Portrayal of Sharks and Their Conservation, Vol. 27, No. 1

Nosal A. et al., 2016, The Effect of Background Music in Shark Documentaries on Viewers' Perceptions of Sharks

Taylor L. R., 1993, Sharks of Hawai’i: their biology and cultural significance

Tchaikovsky P. I., The Swan Lake Ballet

[bwat5-blog]

No Matter How The World Tries To Break You: Revisiting Vi's Loss

** Spoilers for all of Arcane**

"Vi is such a crap sister"

"Vi let Jinx die"

"All she had to do was move, she refused to listen to Jinx even after everything she did!""

"Jinx is gone because Vi couldn't let Vander go"

**This is sort of a return to one I've already done but with some updated thoughts and more of a complete picture, so if you read my stuff you have probably heard most of this**

In the weeks since the show ended everyone has been sharing their reactions, fan-art and fiction, trading theories and asking questions. It has been truly wonderful to be a part of. And my understanding and appreciation of these characters and their story has only grown thanks to this community.

However, certain things have also persisted. Things that I simply cannot wrap my head around. One of which, is the amount of people suggesting that in that last moment between the sisters and what used to be their father Vi failed. She faltered, "letting her trademark refusal to let go of the past cost her sister her life" (hypothetically)....

They dismiss or disdain her heart and refuse to consider it in their judgement. But to dismiss Vi's heart is, first of all to dismiss a massive part of her story, but it also to dismiss her humanity. And it is the humanity of Arcane that makes this story what it is. And so as I have in bits and pieces across other posts, we are going to take another very quick look at what she has been through, and keeping that in mind, discuss that tragic moment between the former family and why she can't move off of that platform.

A Barebones List of Vi's Suffering: No discussion of blame or right or wrong just what happened.

Age 9-

Witnesses the death of her birth parents and several of their people at the hands of Enforcers

Age 15-

Has spent years living in harsh and dangerous Undercity (think back to the fight with Deckard if you need reminding.. "wanna see how that ends")

Witnesses violent deaths of Mylo, Claggor, and Vander. All after coming so close to saving them and fighting off armed thugs all on her own.

Parted from Powder in way that leaves massive amount of guilt and fear for her little sister's well being

Kidnapped and thrown into prison with out cause

Age 15 to Age 22-

Seven years in Stillwater prison. Abused, assaulted, completely deprived of love and kindness and hope.

Age 22-

Stabbed and beaten by Sevika after being told her sister was Silcos daughter

Narrowly escapes Silco's ambush in her old child hood home, having to bring it down to get away

Reunited with sister to find she is unstable and dangerous, taken from her after barely any time together when Vi is knocked out

Almost killed by sister on same bridge where their parents died. Surrounded by victims of her sisters bombs

See's Zaunite boy killed during she and Jayce's raid on shimmer plant

Almost killed by Sevika again during fight, knocked out and abducted by Jinx after she wins

Her long lost beloved sister who has clearly become someone very different, offers to be who Vi wants her to be if Vi will just murder the innocent woman she has come to have feelings for. Vi stops Caitlyn from shooting at Jinx trying desperately to keep them both safe, sees Caitlyn violently knocked out, is then almost killed by Silco before Jinx saves her, but kills Caitlyn's mother.

She is willing to hunt Jinx down, but Caitlyn asks her to wear the uniform of the people who killed her parents

Survives the memorial attack in which Caitlyn was almost killed as well.

Agrees to become an Enforcer: Compromises her principles, doing violence in the streets of her home. Readies herself to kill her sister.

Realizes after giving up on and almost killing her sister that she IS still in there.

The woman she loves, who she put on the uniform for, tells her she is no different than her sister, hits her, and leaves her.

Age 23-

Spends several months totally alone in self-destructive spiral in which she has given up

Gets Vander back but he is in mutated form

Loses Vander in extremely violent fashion only a short time later

Loses Isha violently

Almost killed by explosion saving Jinx's life

Left behind by Jinx after going to free her

Fights in terrible battle in which for just one example of the death she saw Lorris riddled with arrows

Okay. that brings us back to the incident in question. Now, I don't know about all of you. But I read that list, and then look at the twenty-three year old woman trying to hard to protect the people she loves, and my heart breaks for her. That amount of trauma and loss is staggering. So when Violet stands over the prone body of what was once her father, she doesn't respond to jinx calling about the platform failing. She doesn't speak... she doesn't respond.... her whole world is centered around Vander's prone form, and when she falls to her knees we see what she is seeing.

Her father, the man who raised them when Felicia and Connal were killed. She sees the night he died in her arms the first time. When she was only fifteen... It has come be my belief, that Vi was experiencing what is sometimes called a "Dissociative Flashback" related to PTSD born of the horrific life she has lived.

** DISCLAIMER: I AM IN NO WAY A MEDICAL HEALTH PROFFESIONAL. THESE ARE THE OBSERVATIONS OF A FAN BASED ON RESEARCH AND BELIEF ONLY***

At the very basic layman's level, (because that's all I understand anyway) all of this trauma has culminated in a flashback where Vi is not able to process what's going around her, because her mind is locked in that terrible night all those years ago where she lost her entire family. She can't see the platform crumbling, she can't hear her sisters desperate calls. And it's not until what used to be her father tries to kill her, that her mind is ripped back into the present moment. And it's not the Vi we know... it's the Vi we knew. She blocks his first hit, but then.. she doesn't fight. She crawls back confused and afraid, and when she calls his name she sounds for all the world like a young girl who doesn't understand why her father is hurting her. This is a terrible, tragic moment in which we are seeing this incredibly resilient young woman just finally have enough. It's heartbreaking, and it is in that moment when she is more vulnerable than she has ever been, that the little sister she found her way back to saves her life.

As I said it my discussion on Caitlyn earlier tonight, this is not about favorite characters. This is not about liking or disliking Vi's arc either. This is about empathy and understanding. It is about seeing the humanity in this twenty-three year old woman who has been so strong for others her whole life, laid low and needing someone to stand for her. And so to those of you who feel targeted by this post, I am not questioning you for not liking Vi. That is your right. But perhaps if you cannot see the heartbreaking humanity in this moment, you should begin to ask yourself some questions.

Keep standing up for the stories that matter, because that my friends, is how they endure. Thank you for reading, see you all next time.

[bookishdaze]

Noa and Mae as Romeo and Juliet in the Next Planet of the Apes Movie?

Here's why a potential "love story" between Mae and Noa, whether explicit or simply implied, may not be such a terrible idea.

Why? Because Shakespeare told me so, that's why.

"When in doubt, it's from Shakespeare....or the Bible." At least according to a book I had to read for high school, lol.

The biblical references in Caesar's trilogy have been pointed out multiple times already, and these movies have also been described as Shakespearean tragedies. So I thought, 'ok, what kind of Shakespearean tragedy will we have this time around?'

I'm first gonna start off with Hamlet in the Caesar trilogy. I'm also gonna mention other popular movies that are based on Shakespeare's plays. Not necessarily because it's concrete proof that this is what will happen in future POTA movies. This is me simply picking up certain storytelling beats and patterns I've noticed in some of my favorite movies.

It's not 100% the same, but there are some similarities. Also, this isn't anything new. Many have pointed this out before, but I love talking about this stuff!

The Lion King, Black Panther, and Dawn of the Planet of the Apes are loosely based on Hamlet. A king or rightful heir is killed. Usually by an evil uncle, cousin, or family member. For some reason this always results in them falling off a very high cliff.

Everyone thinks they're dead, the evil relative takes power, and everything kinda sucks. There is not enough food in the Pride Lands under Scar's rule. Killmonger burns the heart-shaped herbs. Koba leads the apes to war against the humans.

The rightful ruler spends time in exile, recovering from their wounds and trauma. They might even get a visit or have a recollection of their dead father.

Then the rightful ruler comes back from the dead, challenges the usurper, and regains their rightful place upon the throne.

Now lets take a look at their sequels.

The Lion King 2 and Wakanda Forever share some similarities. They both follow another one of Shakespeare's popular plays, Romeo and Juliet.

Like the Montagues and Capulets, we have two rival kingdoms in both movies. We got the Pridelanders and the Outsiders. We also got the Wakandans and Talokanils.

The two heirs/rulers from both kingdoms meet. They hate and don't trust each other at first, but then they start to have compassion for the other. In Kiara and Kovu's case, they fall in love. Namor and Shuri don't fall in love, but after Namor shows her his underwater kingdom and what he has to protect, she softens and begins to understand him more. (They even got the whole Hades and Persephone thing going on, who are a couple in Greek mythology, by the way).

There are losses on both sides. Kovu's brother was killed while going after Simba. One of Namor's people was killed when Shuri was rescued by Nakia, and Shuri's mother, Queen Ramonda, died after Namor's attack on Wakanda. (Starts nervously eyeing Anaya here...)

These losses make things worse, by the way.

In the end, both pairs are able to bring the fighting between their people to a stop. The Outsiders are welcomed into Simba's pride. The Wakandans and Talokanils stop fighting after seeing their leaders return together.

In the end, they realize that they're the same. That they can't let hate and fear of the other side cloud their judgement.

Kiara tells her father, "A wise king once told me we are one....Look at them. They are us. What differences do you see?"

Shuri tells Namor while she spares his life, "Vengeance has consumed us. We cannot let it consume our people."

And I think this goes well with one of the core themes of these POTA movies. The apes are a mirror to humanity. We the audience are seeing us through them, and the characters in the movies themselves must come to the realization that they're the same.

Like when Caesar tells his son, "I always think ape better than human. I see now how much like them we are."

Maybe something similar like this will happen with Noa and Mae and whatever fight will happen between apes and humans. While I'm all for a good romance, it may end up being more like Namor and Shuri's case. There's something there. The tropes are present, but they don't fall in love. (At least not yet. Please Ryan Coogler, give me Nashuri endgame in Black Panther 3, hehe).

This is just a theory, by the way. This doesn't have to happen, but I just think it'd be neat. There would be differences though. What those differences would be, idk, but whatever happens in the next one, I can't wait!

"But but.... aren't you forgetting something?"

What's that?

"Don't they...ya know...both die at the end?"

Besides, they don't have to die. Things can be a little more hopeful for our two heroes 🙈

[deathbxnny]

Woooo, congrats on 1k followers, sure has been a ride, huh?

Now, with requests back open, it's time time for the sequel to my Arle request!

Okay so, like I said in that ask I sent a while ago, this one takes place in the same "continuity" as the angsty af Arle request you did last req period. This one takes place some time after that story, and is less angsty in this case (but there's definitely still some here).

Here, similarily to the last request, the "Mother" of the House is staying in... let's say Fontaine, tending to one of the injured children (could be some rando kid, or maybe it's one of the Fontaine trio) after a mission. Unlike last time though, it's looking as though the child will pull through, that "Mother" won't have to bury another of her kids!

Bad news tho, the people responsible for the child's injuries are coming around to finish what they started. Arle, who's handling business elsewhere, catches wind of this and makes haste to help her wife.

Little did those who came to finish the child realize what danger they're in. Because you see, fem!reader is a former child of the House of Hearth. Not just that, she's the wife of a Harbinger. Normally she doesn't engage in violence, but these people Hage intentions of ending her child's life, and she simply cannot let that slide.

And so, Arle arrives just in time to bare witness to her s/o going absolutely John Wick (does she kill anyone with a pencil? That's up to you 🤭) on the bandits who dared to cross her not once, but twice.

(Part one) (Part three) (Part four) (Part five)

Ohoho.... I absolutely love this, dear Anon, and I'm hoping you'll love my spin on this as well!! Although I have to admit that I gave it a bit of a mellow end, instead of the "John Wick" type of ending, mainly because I found it more fitting with what I was going for... but anyhow, thank you so much for this request, I was definitely looking forward to it, hehe!!<33

Content: Some gore, Near character death, mentions of near fatal injuries/wounds, blood, mentions of grief/child loss, Reader snapping, violence, assassination attempts, Reader is referred to as "Mother", heavy angst, hurt/comfort, kind of a good ending for once?, stitches

Reader uses she/her pronouns here!!

((Not proofread))

The last one standing had crimson palms. (Arlecchino x Fem!Reader)

"I... I wish to..." "Shh... not another word, child... don't you dare say it." Your hands were stained red once more, pressing down on another gashing, deep wound, sweat running down your forehead as everyone around you attempted to stop the bleeding. You didn't want him to see what had become of him, one hand resting over his teary eyes to stop your heart from shattering any further. You wished she was here, your dearest wife, who had to choose this week of all the others to leave the country for a short business trip.

And today was supposed to be a good day. One filled with the laughter of children and the smell of grilled sausages and steaks coming from the garden. You were trying to have a little festival together to celebrate the start of warmer months. But the atmosphere had now become suffocating with the smell of sharp iron and sweat instead, the gentle warmth now scorching hot, exhausting, and grinding you down to the bone. However, you couldn't let go of him now. You couldn't let him die. You refused to give up on him, especially. You refused to let him become another buried angel.

His hand pressed against yours weakly, his breaths deep, pathetic gasps for air, as he tried telling you something important through broken cries. "Mother... Mother, please, you have to listen to me." He coughed out, blood staining his lips, as his other hand reached out blindly to grasp onto the fabric of your once white sundress. You furrowed your brows against the darkness of the room, light only filtering in through the moon outside and the shaky hands of Lynette trying to keep a lantern steady so her twin could keep patching his younger brother up.

"What is it, Freminet?" You indulged him, trying to keep him awake at all costs. His voice was hoarse, raspy, once silky blonde hair now sticking to his forehead as he gulped dryly to collect his thoughts.

"They are coming for us, mother... and you are next."

Lyney gave you a look, one filled with an undefined emotion he only ever had when it came to your protection. If you didn't know better, you would've been terrified at how similar he was becoming to his father. "Those assassins we encountered during our mission, Mother... they weren't ordinary ones, to say the least." He muttered to you, his mind replaying the moment one of them struck his brother, who was just trying to protect them out of pure instinct. He was brave, despite the shyness he often portrayed.

"How so?" You wiped away the sweat on your forehead, nose wrinkling when another member of the house handed you a medkit before they disappeared into the shadows again. "They... knew us by name. Every single one of us. And then-" You waved over Lynette to stand in your place whilst her twin spoke, so you could unpack the needed supplies for the upcoming "operation" you had to conduct on your son. You've become a near professional over the years. Something else you didn't choose to do nor want to be.

"-They uttered your name. We... believe that they are trying to weaken Father. And you are that weakness they are seeking, Mother.-" "-They've come to finish the job. We... we need to evacuate everyone.. we need to hide her.-" Lynette hushed Freminet quickly, as she pressed some cloth into his mouth. With a glance downwards to his wound, she determined that it would definitely hurt horribly to stitch him up... but he'd live. For the first time in weeks, someone would live. She closed her eyes to hide those tears that threatened to spill in relief.

You stared at the three of them for a moment before you simply proceeded with placing the first few stitches into the boy's wound wordlessly. He writhed in pain, his fingernails digging into the mattress below whilst his screams and cries were muffled by the cloth. Lyney and Lynette were trying to hold him down, their bodies wincing involuntarily at every sharp breath or movement from their brother. Your expression was meanwhile unreadable, hands moving automatically until you cut the string and were done with your little procedure. It's as if your mind completely fazed out, only driven by the need to fix and protect, keep everyone alive no matter what.

"Lyney." The young man hesitantly met your gaze, his body shaking when his brother fell limply into the bed again, his breathing heavy and uneven. "Evacuate everyone into the upper floors and then come back to watch over Freminet." You said, quick to wipe your hands with a nearby towel nearly coldly, but Lyney knew that look in your eyes. You were sick of it and would take it all into your own hands if your wife couldn't. "Mother, you can't just-" "-Lynette, use the backdoor and let this bird free." You tapped the golden cage on the nightstand with your fingers, the little sparrow chirping curiously. It was a messenger bird, one specifically designed to catch your wife's attention and bring her home instantly when things got out of control.

But you weren't using it for it's purpose tonight. No, everything was completely under control here... you just needed her to come back home to stop you once you're done.

"Mother-" A sharp look made him quickly reconsider what he was about to say, a hand pressing against his chest whilst he bowed. "... we're on it." Lyney muttered, signaling Lynette to love with him, which she did after grabbing the bird cage. Their paths split at the stairs, the girl practically descending them two steps at a time, which got the attention of their fellow bretheren immideatly. "Everyone! Get into the attic or your rooms at once! Mother's orders, so get moving! Barricade your doors and don't open them up to anyone! This is an absolute emergency!" Everyone jumped when they heard the usually playful magicians voice bark out orders harshly, automatically getting the job done as everyone filed up the stairs to do as he said.

Lyney pushed through the crowd to continue looking for stray children who may not have heard him. His heart was racing against his ribcage, sweat dripping off his forehead he could only barely wipe off with a handkerchief he accidentally dropped when someone bumped into him. But your orders were clear in his mind and kept him steady. He knew that he and most, if not all, other kids of the house could take care of themselves just fine... but this was something beyond their means. Something usually only Father got to handle.

By the time he finally got back to his brothers room, you had left it behind, nowhere to be found, and yet the injured boy had a simple blanket covering his shivering form now, dressed in clean clothes and resting on perfectly white bedsheets. Lyney waited by the door, his hand gripping the handle tightly, as he listened to his sisters familiar steps running towards him. He let her in, eyes glancing around the dim hallway one more time before he tipped his hat down and shut the wooden entrance again.

The only sound heard for a moment after was the chirping of a bird in the dead of night until deafening silence filtered in once more.

---

The house of Hearth was never still and unmoving, not even in the darkest parts of the day. The late hours were the busiest, filled with agents and children alike walking in and out of it's doors under the cover of shadows to complete their given tasks and missions. The iron, bloody scent left behind by their previous endeavors, their hushed words to eachother as they passed by, the movement of paper being hidden under floorboards, some given to you with proud looks for approval, as you stayed up with them until the first rays of the sun danced in your eyes... it was never calm, never quiet. Yet the intruders didn't question it. They didn't even think twice to enter the house, the open birdcage. They mistook the silence and stillness for safety.

The first assasin stepped in through the picked lock of a backdoor entrance, his cautious eyes trying to catch any looming danger that may cause them trouble. Yet with nothing in sight, he waved over the rest of his three little friends right into your humble home. "Okay, you know the plan... kill as many of those little rats as you can." "And what about the Mother?" One of them asked, his hair clumsily hidden under a makeshift hood, a dirty grin on his lips in anticipation.

"Can I get rid of her? It won't be much of a struggle, I'm sure. She's just a measly housewife anyway." "Heard she's a pretty thing, though." A round of chuckles filled the kitchen before the first shrugged. "Do what you want. We just have to be done by dawn... let's split up in two groups, then. Just in case." The men agreed, one group making their way upwards, whilst the other searched the ground floors.

The darkness was inviting, the silence emitting a false sense of safety that made the intruders let their guards down, unaware of your form slinking after them. You were calm and collected, eyes dull, the dim moonlight not catching in them anymore. A mother's rage was a dangerous, unpredictable one. Filled with the need to make those who hurt her children suffer, she'd advance even through the most perilous paths for the sake of glory, revenge.

Unbeknownst to anyone, you had put two and two together a long time ago. These intruders, who belonged to a foreign enemy faction, were the cause of many of your children's deaths. They were the reason as to why you had to hear them cry out that odd wish so often. They had dared to enter your territory tonight to take away the rest of the family you had worked so hard for to have. You worked so hard to be a good mother. You bled, you cried, you slaughtered your way here. You became a "mother" one could be proud of. And on this fateful night, you'd prove your worth and pride to even Celestia above you with their screams that will reach far and wide. Your hand gripped a silver dagger, one originally gifted to you by your wife, as you blew out a lantern in one of the hallways, plunging everyone into further darkness that was far from warm.

It was ice cold.

---

"Wait outside." Arlecchino gave the Fatui agents a sharp, warning look, her clawed fingers tight around the Scythe as she entered the still, quiet building she called home. Her eyes glanced around carefully, noting immideatly that the danger that lurked in the dark was familiar. The bird on her shoulder chirped, reminding her of why she had come here in the first place. The meeting she had was cut short by it flying through the window, the call for help loud and clear. She had simply walked out then, her priority always having been you and the house, although it still made her wonder why exactly everything seemed so... unusually silent. Did Lyney and the other children deal with the threat already? If so... where were you?

Her keen ears picked up movement in the living room nearby, which made her calmly make her way over to it's entrance. With a raise of a brow, she stopped when she stepped into a puddle of blood. It seems like her suspicions were partially correct... althkugh who it was that took care of the intruders certainly came as a surprise.

"... You came." Your voice made the tension in her shoulders cease, eyes flickering to your form seated infront of the fireplace. The orange light cascaded across the dark room, the four mangled bodies laying at the bottom of your favorite lavish loveseat being a testament to your victory, and yet you remained still as a statue, back turned to her to observe the flames instead.

"You called." Arlecchino replied after taking in the situation, the sound of her heeled shoe echoing off the walls, as she approached you carefully. Her clawed hand grabbed onto your shoulder, head tilting to look at the side of your head. Your eyes were cold, not even the scorching warmth of the fire melting them. You were unreadable, hands bloody, and yet still so tightly gripping onto the dagger like your life depended on it. And despite that, you were still breathtaking to the woman.

"Are... you alright, my dove?" She asked, a genuine tone in her voice that was only ever reserved for you. The tears in your eyes burned when you finally looked up at her with a pained expression. You weren't like her. You couldn't just kill and be as proud as you hoped to be. You raised your hands towards her, bloody palms raised towards the gods the way they often were when you pleaded for help and forgiveness for the death of your children. You didn't need to say anything anymore, as she pressed a hand to your cheek with an acknowledging nod.

She wasn't good at comfort, nor did she ever try to be. A father didn't comfort his children in her eyes. No, a father simply led them to glory, and that's it. But that didn't mean that she was a bad wife, too. She sat down next to you, uncaring of the bloody mess that surrounded you, when she pulled you close to press your foreheads together. It was a way to silently show her support. She was there for you and understood you.

"I was scared... they hurt Freminet, and I couldn't fathom losing the rest-" "-I know. Thank you for your bravery, my dove. I'll take it from here." Her words were curt and short, and most would perhaps chalk it up to indifference. But when she held you close like this, gently rubbed your back and promised to take care of you only she knew how to, you found yourself being lulled back into the familiar comfort you were so used to. You knew that despite everything that happened, however, she could still not promise that this would never happen again. Your hands will always be stained crimson for as long as you were a Mother. There was no going back. There was no leaving the house.

But... you both were stuck in it together forever, weren't you?

Alrightttt... this took a while to finish, mainly due to work and me being sick again. But yeah, thank you again for the request, Anon, and I hope you liked this!!<33

[kalpeavaris]

Other than the AU gang do you have any murder drones ocs?

Oh, I am SO glad you asked anon! I've been waiting to spam my profile with my OCs but with my AU project going off lately I was hesitant if people would even be interested in original characters or even other stories that don't primarily involve the canon characters. :D

So let me hit you with the giant wall of text that is all this stowed concept art & story I have lying around waiting to finally be released (especially written, lol) Below the cut is all the information to my AU/own story set after the Absolute Solvers defeat in 3071.

Lemme introduce you to my personal project:

"Murder Drones: Echo"

“It takes a demon to kill an angel.”

Let's start with the most important stuff, the characters! This line-up is relatively fresh but it still misses 1-2 characters (especially SD-K) which I haven't finished designing yet. A little bit of info is written below the characters, buuut to add more context Imma just speedrun through them lol

Alot of these characters can be found on TOYHOUSE! (requires you to be logged in, sorry :c)

Serial Designation Y - Trans-masc host (build intended to be female presenting, doesn't love that though. He identifies with the male type much more and it shows). He's the secondary host to ECHO, the main antagonist of the story and has 6 wings (not feathered, they're shaped from membrane and take the shape of feathered wings).

Serial Designation D - A character that is also set on appearing in my MD AUs (like Synemy) - and she has appeared in the Synemy fanfiction before as a flashback character that worked with Cyn! She's a former maid and was rebuilt as Disassembly Drone by the Solver itself. As Dina (her true name) had feelings for Cyn she followed the Solver thanks to it using Cyns body as host. She's neither a good nor bad person in the story but rather a neutral force that just wants to be left alone.

Serial Designation X - A Communication Disassembly Drone that worked in a squad with K & T. She's fairly quiet and rarely talks and if she does, it's mainly to bring up good points. Or to insult someone because they're annoying, lmao. She wears glasses as she misses the main eyes DDs have (the yellow lights on the headband) - she's incredibly short sighted and therefore rarely ever involves herself in aerial fights. She uses close-combat techniques as she used to be a ring fighter before being rebuild.

Serial Designation T - The navigator of the 3-people-squad with X & K. He LOVES 1980s music and salvages places online & IRL for music and CDs. He's not above rick-rolling people. B) He met Kira in 3050s where his programming to kill Solver Hosts was overwritten by the Solver, causing him to become neutral towards her. One thing led to another and they had a child. Whoops! (they're madly in love)

You can also find more stuff on him (and Kira!) on their shared Pinterest Profile B)

Evie (also spelled "Eve") - Ts & Kiras daughter. Her body was constructed to be a hybrid of both a Worker Drone & a Disassembly Drone. She's the perfect middle ground of her parents (not only regarding her height). Her drive to kill Workers is not really present, though she can be very "feral" if she's starving. Still needs Oil to survive and cannot go into the sun - doesn't have nanite acids, but instead a stinger. T made sure not to give her acid. He's worried she'll hurt herself with it.

Kira ("ZWEI") - Kira is one of the Drones that was held at the Cabin Fever Labs similar to Nori and Yeva. She was number 24 (yes ik there's a name for that number in the show but since those names are names from workers on the MD staff team they're more easter eggs and less canon ig) and as a communication drone, her Solver gave her differing powers. She escaped from the labs in the mid 3050s after a botched patch and found herself an Outpost to reside in until she met T. Kiras antennas were able to pick up communication between the Solver & the landing pots, making her aware of the upcoming threat. Her existence as com-drone makes it easy for Echo to manipulate her as well as she cannot tune out incoming signals easily.

Motte - Motte is Echos main host (similar to how Cyn was to the Absolute Solver), with the exception that Echo doesn't inhabit her body all the time; only if it needs to speak through her. Motte is completely blind, her visor crached & her left eye replaced by Echos symbol that glows when she's in active possession. Before the possession she was a worker drone in Outpost 4 and quite a friendly individual. Ever since being possessed Motte is extremely paranoid, doesn't speak (semi-voluntarily, since she fears hearing her voice thinking it might be Echo). She's close with Y due to them sharing the same fate as hosts and he's the only person she allows around her. She's not evil or even slightly motivated to follow Echos commands, she's simply being used against her will (dw, she'll get her comfort to the hurt).

ECHO - main villain of the whole thing. Echo itself is a mutated line of code that seperated itself from the Absolute Solver code back in the Cabin Fever Labs when the humans experiemented with it. It mainly affects communication drones and was first seen within Kira, although it was patched from her and moved onto Motte for it's main host. It's a true neutral entity in the beginning, not differencing good from bad or even having slightly grey area understanding. It does *does*. In the evolution of the story Echo gains a pretty dangerous god complex, seeking out power beyond understanding. Other than the Solver it doesn't wish to satisfy hunger or seek out matter to consume, instead, it wants to experience true ascencion - human emotions and more. It's highly motivated by it's drive to know things, being inspired by human religion (especially christianity) with it's true form being a humongus Ophanim inspired burning wheel that is formed from biological matter, eyes and light.

Echo assumes a more "drone-like" appearance when not needing it's massive true form. It tries to imitate the Workers and well... fails, since it doesn't really look like any normal Worker Drone. It really loves halo symbolism which also results in it's powers and main emblem/symbol being a halo-like structure that manifests in it's victims eye. For that it usually destroys the eye in place. Echo is very capable, though not immortal. Like the Solver there is a way to contain it, but for spoiler reasons I won't share this for now!

(Not shown on this chart but imma share them anyways!)

Serial Designation K - K is one of the squad members that came to Copper-9 with T & X. While T and X slowly started to warm up to Kira and not actively killing the Workers anymore she herself was entirely disconnected from that. K is, to be frank, just fucking through the roof. She enjoys the Solvers task of killing off the life around planets and gladly does so. Stopping just because a Worker "is nice" isn't on her to-do list so she's... well, more or less excluded from the Squad which made her angry. On one hand - understandable, on the other hand she's killing everything she sees, sooo...

She's a minor antagonist in the story and serves as obstacle to go through. Even with the Solver gone K isn't convinced to stop which comes with a price to pay if you actively try to hinder people from finding their loved ones. :X

Alex - Alex is a human soldier from another exoplanet that wasn't yet destroyed by the Solver - the Iron system. He works in the IDF (iron defense force) and when the military on Iron-3 get the message that Solver activity has been spotted again in the Copper System (as well as Echos activity) he and his team is sent to Copper-9 to weed out the reminaing Solver Hosts (and later on Echo Hosts). Alex isn't the biggest fan of Drones but works with Iris to keep their mission afloat.

Iris - Iris is a Drone built to assist in military-grade operations. She's a bit similar to Disassembly Drones (though with differening looks) that is working with Alex' squad in order to destroy Solver Hosts & remnants still alive on Copper-9 to avoid another spread (not being aware that the Solver itself is contained and still alive... oh well... sounds like drama. Hehe.) Her name is an acronym for Intelligent Response and Information System.

So, what's the story? Is there anywhere I can look for stuff?

Well, the story right now is still being written & in draft form. It'll be released on my AO3 when it's presentable!

Basically the story plays after the Solvers defeat in 3071 and spans over a few months. It starts of with a semingly smaller mission of Evie searching for her parents who've gone missing after the Solvers defeat - trying to make sense from the entire situation only to stumble onto something WAY bigger than she (and the people helping her) anticipated in finding.

Will there be canon characters?

Yes! Since the B Plot of the story also revolves around humans trying to kill off the remaining Solver Hosts (and the Solver itself) canon characters will be included too. Obviously the characters from Outpost 3 such as Uzi, N & V primarily.

There will also be canon & fanon character interaction! B)

Anything else I could seek out for this story?

Check out this cool playlist I made for the story! It has edgy songs (woah! who could've thought when it's about MD?!), sad songs! (i love making characters suffer for plot purposes!), cool fight songs (NICE robots smashing each other to bits on the battlefield! B)) and much more (which will be expanded upon in the future hehe)

[blackkatdraws]

Black and Narry lore! [Narry is owned by @insomniphic and some of the art here were drawn by her too]

[Small Note: None of these are canonical to their stories and were made just FOR FUN.]

As a being of purity and light, Narry was appalled when he first came across Black who appeared to be the very embodiment of darkness and wrongness [at least in Narry's point of view]. Narry sees Black as a waste of potential because of how much power Black ["the bad guy"] has at his disposal.

Black feels indifferent to Narry's existence, as he's already used to similar beings like him. He sees Narry as a waste of power since he's clearly holding it back for the sake of the people he wants to protect.

Because of how much impurity Black's power emits, Narry is incapable of seeing Black normally.

In Narry's perspective, Black is a huge writhing mass of something that's very unpleasant to look at. This appearance is inconsistent and can shift continuously. This effect extends all the way to even photos or depictions of Black.

He physically cannot [refuses to] be in the same room as Black because he can't stand the feeling, the smell, the sight, everything about his power. It sickens him.

There's no context for this comic. This is a What If scenario where Black and Narry are going somewhere together when a group of bad guys come and attack them.

Narry is the type to hold back his true power in order not to hurt the people that are attacking him which annoys Black into stepping in [because he has somewhere else more important to be and Narry is delaying it].

Of course, Narry ends up getting injured and Narry makes Black promise he won't kill the aggressors before passing out.

[Admittedly, this scenario breaks a few canonical lore for both characters but we'll go with it for now.]

As a response to that idea, Insomni drew this.

Narry wakes up after the fight was long over and he sees piles of bloody bodies laying on the floor. He gets upset that Black didn't follow through their promise.

Black does not care. Instead, he laughs at Narry for finally snapping [considering it took a while for Narry to finally loose his cool at Black].

Black did keep his promise. All the aggressors are still alive, but barely.

We talked some more about their dynamic and we both drew these.

In this scenario, Black and Narry are fighting. [Started by Narry, who had the full intent to kill him for (what he perceives as) the greater good.]

He thinks this world would become cleaner without Black around.

Narry is convinced that Black is a monster incapable of feeling or doing anything remotely positive. Even as Black saves Stanley from the attack that Narry himself sent towards Black, he's still in that mentality where he sees everything that Black does as something for negative reasons.

Narry is a good person but his (justified) blind dislike for Black leads him into taking extreme actions at times. Plenty of people dislike Black for what he is, but Narry is the only one with the power to actually do something about it.

[The last drawing is another What If scenario where Black had to take Stanley and flee because he keeps getting in the way of their fight (and Narry is too focused on his task to take other people into account). Black doesn't want Stanley dying because of a stupid scuffle.]

[Note that Narry won't actually hurt anybody EXCEPT Black, he's a good guy who wants to do what's best for other people. Black is just EVILLLLL mwehehehe]

[Then I proposed another What If scenario where Narry won the fight causing Insomni to draw this.]

As Narry was about to strike with a powerful attack to finally end him off, he felt something familiar coming from within Black.

In the ocean of filthy dark energy Black emitted, there was light.

It was small. It flickered weakly in the air as the darkness that kept it safe was falling apart, but it didn't go out. It lit up softly without any signs of extinguishing any time soon.

Narry was in disbelief.

Stanley had done the impossible. His relationship with Black had given birth to a different side of Black's power, tucked away deep inside where only they're allowed to see.

And it was now in full display to Narry.

As a being filled with goodness and empathy, his guilt starts to eat away at him as he finally snaps out of it and sees the extent of what his impulsive actions have done.

[Insomni and I both agree that their fights would probably be settled with a draw or mutual death, so this scenario is not as probable to happen. It's interesting to think about though.]

[Again, breaking a few canonical lores but we like gay people here so it's whatever. I was the one who proposed the idea anyway. (❁´◡`❁)]

-------♦

[Here are fun extra doodles!!]

[atopvisenyashill]

king bran

so i’ve lined up my theory on how bran will be king in harrenhal but i was a little lax on details about king bran foreshadowing. there’s the “bran in harrenhal” stuff i’ve outlined which includes-

bran’s connection to the weirwoods & the magical connection the isle of faces has

the whent connection

bran being a metaphorical heir to robb by ruling over the lands robb was born, fought, and died in

the importance of harrenhal as a symbol of both the wasteful excess and hope for the future

but why king bran specifically? well…

ATTEMPTED SLAYING BY THE KINGSLAYER

for one thing, bran is our introduction to the entire series (barring the prologue, rip to 3 icons). he introduces us to the brutality of this world, to the themes of justice, kingship, leadership, to the Others, and to magic. that very important lesson about how the person to pass judgement must swing the sword, and must be sure that the life they're taking is one that deserves to be taken? That comes to us not through Jon, or even Arya, but Bran:

Yet our way is the older way. The blood of the First Men still flows in the veins of the Starks, and we hold to the belief that the man who passes the sentence should swing the sword. If you would take a man’s life, you owe it to him to look into his eyes and hear his final words. And if you cannot bear to do that, then perhaps the man does not deserve to die.

That last sentence in particular is a belief that really sticks in all the kids heads as they go about their journeys, and it is through Bran that we learn it.

But in his second chapter, Bran also introduces us to jaime, cersei, and the main plot twist of the first book which kick starts the war of five kings. before he's pushed from the tower, this is all we know about Jaime-

He’s blonde, he’s named Jaime, and he killed the king.

Then the first thing he does is attempt to slay Bran.

AEGON VI AND THE PISSWATER PRINCE

What’s most interesting to me regarding King Bran foreshadowing is that the story of how Bran survives the sack of Winterfell is very similar to Varys & Illyrio’s story of the pisswater prince. Here is Tyrion’s summary of it-

"And when the pisswater prince was safely dead, the eunuch smuggled you across the narrow sea to his fat friend the cheesemonger, who hid you on a poleboat and found an exile lord willing to call himself your father. It does make for a splendid story, and the singers will make much of your escape once you take the Iron Throne…

and some reminders about Bran, helpfully color coded-

It was not Bran we killed. It was not Rickon. They were only miller's sons, from the mill by the Acorn Water. "I had to have two heads, else they would have mocked me… laughed at me..."

Three times he had sworn to keep the secret; once to Bran himself, once to that strange boy Jojen Reed, and last of all to Coldhands. "The world believes the boy is dead," his rescuer had said as they parted. "Let his bones lie undisturbed. We want no seekers coming after us. Swear it, Samwell of the Night's Watch. Swear it for the life you owe me."

“Hodor must stay with Bran, to be his legs," the wildling woman said briskly. "I will take Rickon with me." “We'll go with Bran," said Jojen Reed. "Aye, I thought you might," said Osha.

Another interesting thing about Bran, the Reeds, and Aegon VI here-

“He has a song," the man replied. "He is the prince that was promised, and his is the song of ice and fire."

I swear it by earth and water," said the boy in green. "I swear it by bronze and iron," his sister said. "We swear it by ice and fire," they finished together.

BRAN, THE REEDS, AND THE FISHER KING

Now first of all, quick rundown with more color coding. The Fisher King is a character in Arthurian legend, involved in a story with Perceval and the Holy Grail (so you know we’re already cooking here bc Holy Grail stories are baller). The Fisher King is the last in a long line of kings tasked with guarding the Holy Grail. He is injured at some point, usually in the groin, and is rendered barren by the wound, and his land is a barren wasteland where nothing will grow because he is connected to the land. Only when a prophesied hero comes seeking him will the Fisher King be healed. Perceval, of course, comes seeking him, heals him, and gets the Holy Grail.

Now some of the beats of that story should sound familiar-

Thousands and thousands of years ago, Brandon the Builder had raised Winterfell, and some said the Wall. Bran knew the story, but it had never been his favorite. Maybe one of the other Brandons had liked that story. Sometimes Nan would talk to him as if he were her Brandon, the baby she had nursed all those years ago, and sometimes she confused him with his uncle Brandon, who was killed by the Mad King before Bran was even born. She had lived so long, Mother had told him once, that all the Brandon Starks had become one person in her head.

He was going to be a knight," Arya was saying now. "A knight of the Kingsguard. Can he still be a knight?" "No," Ned said. He saw no use in lying to her. "Yet someday he may be the lord of a great holdfast and sit on the king's council. He might raise castles like Brandon the Builder, or sail a ship across the Sunset Sea, or enter your mother's Faith and become the High Septon." But he will never run beside his wolf again, he thought with a sadness too deep for words, or lie with a woman, or hold his own son in his arms.

The stone is strong, Bran told himself, the roots of the trees go deep, and under the ground the Kings of Winter sit their thrones. So long as those remained, Winterfell remained. It was not dead, just broken. Like me, he thought. I'm not dead either.

What was he now? Only Bran the broken boy, Brandon of House Stark, prince of a lost kingdom, lord of a burned castle, heir to ruins. He had thought the three-eyed crow would be a sorcerer, a wise old wizard who could fix his legs, but that was some stupid child's dream, he realized now. 

No," said the pale lord. "That is beyond my powers." Bran's eyes filled with tears. We came such a long way. The chamber echoed to the sound of the black river. "You will never walk again, Bran," the pale lips promised, "but you will fly."

Now what’s interesting is in twoiaf we learn about some ancient rulers called the Fisher Queens-

From such we know of the Fisher Queens, who ruled the lands adjoining the Silver Sea—the great inland sea at the heart of the grasslands—from a floating palace that made its way endlessly around its shores.

The Fisher Queens were wise and benevolent and favored of the gods, we are told, and kings and lords and wise men sought the floating palace for their counsel.

And what do you know look at who Bran is traveling with-

“My father taught me. We have no knights at Greywater. No master-at-arms, and no maester.” “Who keeps your ravens?” She smiled. “Ravens can’t find Greywater Watch, no more than our enemies can.” “Why not?” “Because it moves,” she told him.

Jojen Reed was thirteen, only four years older than Bran. Jojen wasn't much bigger either, no more than two inches or maybe three, but he had a solemn way of talking that made him seem older and wiser than he really was. At Winterfell, Old Nan had dubbed him "little grandfather."

When they died, they went into the wood, into leaf and limb and root, and the trees remembered. All their songs and spells, their histories and prayers, everything they knew about this world. Maesters will tell you that the weirwoods are sacred to the old gods. The singers believe they are the old gods. When singers die they become part of that godhood.

I like to say this about Theon, when he sees Bran's face in the weirwood and thinks, "The old gods, he thought. They know me. They know my name." that this is partially true - Theon is beloved by the gods but what he doesn't realize is that the old god he is beloved by is in fact Bran Stark. When the old gods weep for Theon and Jeyne, it is Bran weeping for them! So similarly, the way the Fisher Queens in their moving castle were thought to be beloved by the gods the Reeds in their floating castle are beloved by the gods because they are beloved by Bran. This reinforces Bran's connection to the Fisher King imo - just as the old greenseers and singers/cotf are quite literally connected to the land because they have become part of the the weirwood hivemind, Bran has this same connection to the land.

AND what’s more is that the Fisher King story is likely to trace itself back to a Welsh story, of a magical King who gives his sister's hand away, only to learn that she is being mistreated, and musters a host to go save her. During a battle, the King is mortally wounded by an injury in his foot, and as he dies he tells his men to cut off his head and take it to London so he can protect their people from invasion, and for several years after he "dies" his head continues speaking. If that also sounds familair, do you want to know what that man’s name was?

Bran the Blessed.

MELISANDRE'S VISION

Now staying in the realm of magic, we also have this very interesting passage from Melisandre, emphasis mine-

Show me Stannis, Lord, she prayed. Show me your king, your instrument. Visions danced before her, gold and scarlet, flickering, forming and melting and dissolving into one another, shapes strange and terrifying and seductive. She saw the eyeless faces again, staring out at her from sockets weeping blood. Then the towers by the sea, crumbling as the dark tide came sweeping over them, rising from the depths. Shadows in the shape of skulls, skulls that turned to mist, bodies locked together in lust, writhing and rolling and clawing. Through curtains of fire great winged shadows wheeled against a hard blue sky. A face took shape within the hearth. Stannis? she thought, for just a moment … but no, these were not his features. A wooden face, corpse white. Was this the enemy? A thousand red eyes floated in the rising flames. He sees me. Beside him, a boy with a wolf's face threw back his head and howled.

THE REGENCY OF AEGON III

So warning this is part parallelism and part prediction

The Dance of the Dragons was done, and the melancholy reign of King Aegon III Targaryen had begun.

As he was still but ten years of age, the new king’s first act was to name the men who would protect and defend him, and rule for him until he came of age.

This was a council of which Septon Eustace heartily approved, “six strong men and one wise woman, seven to rule us here on earth as the Seven Above rule all men from their heaven.” Mushroom was less impressed. “Seven regents were six too many,” he said. “Pity our poor king.” Despite the fool’s misgivings, most observers seemed to feel that the reign of King Aegon III had begun on a hopeful note.

So many lords, both great and small, had perished during the Dance of the Dragons that the Citadel rightly names this time the Winter of the Widows. Never before or since in the history of the Seven Kingdoms have so many women wielded so much power, ruling in the place of their slain husbands, brothers, and fathers, for sons in swaddling clothes or still on the teat.

The smallfolk of the Seven Kingdoms speak of King Aegon III Targaryen as Aegon the Unlucky, Aegon the Unhappy, and (most often) the Dragonbane, when they remember him at all. All these names are apt. Grand Maester Munkun, who served him for a good part of his reign, calls him the Broken King, which fits him even better. Of all the men ever to sit the Iron Throne, he remains perhaps the most enigmatic: a shadowy monarch who said little and did less, and lived a life steeped in grief and melancholy.

There is also a big focus on the “tax policies” aspect of the story through these two child rulers. Much of Aegon’s regency centers around him butting heads with his guardians while Bran’s ACOK arc sees him as the ruling Stark in Winterfell and learning how to lead with mentors in Maester Luwin & Ser Rodrik Cassell. EYE also think it’s interesting how both Aegon & Bran get some focus on having a lil gaggle of companions around. Aegon has Gaemon, Jaehaera, Viserys, Daenaera, and Larra Rogare, while Bran has the Big Walder, Little Walder, Rickon, Jojen, and Meera. They both feel like very similar groups of kids that are thrown together & running amok with adult supervision that is more lax/not coming from their parents.

There's also just like, a lot of parallels between Baela, Rhaena, Jacaerys, and Aegon with Arya, Sansa, Jon Snow, and Bran. There are several good breakdowns of the Sansa/Arya parallels as well as the Jace/Jon Snow ones, so I won't dig into that here, but I think when you put all this together what you have between Bran and Aegon III is-

Two boy kings who will have a long regency

Both orphaned due to a brutal succession war

Both referred to as "broken" - aegon by munkin, and bran referring to himself

Younger - but not the youngest - brother coming into his seat after his older brother is killed

Both have names that are important in their families & frequently re-used - and in fact both share a name with their uncle

A very rare "winter of widows" where most of the houses are ruled by women due to all the men being dead and their heirs being babies is coming up in the main series

This anti parallel of Aegon being a very melancholy person & Bran being known to be “quick to laugh and easy to love.”

As for his relationships, we have-

His bastard born brother With Some Secret Paternity Going On, who is likely not going to be in the running for King at the end of the war (hopefully um, Jon Snow actually lives unlike poor Jacaerys)

His oldest brother dying at 16 during the war

One sister who is more adventurous and "tomboy"ish, who is associated with ships and travel

Another sister who is more ladylike, who has a largely political arc in the Vale

Both sisters are likely to take leading roles as political players in the aftermath of the war - I do suspect we will get some sort of “Hour of the Wolf” parallels here, just before or after Bran is crowned

SOME CHOICE QUOTES TO LEAVE OFF ON

Bran could perch for hours among the shapeless, rain-worn gargoyles that brooded over the First Keep, watching it all: the men drilling with wood and steel in the yard, the cooks tending their vegetables in the glass garden, restless dogs running back and forth in the kennels, the silence of the godswood, the girls gossiping beside the washing well. It made him feel like he was lord of the castle, in a way even Robb would never know. - Bran II, AGOT

Ahead he glimpsed a pale white trunk that could only be a weirwood, crowned with a head of dark red leaves. - Jon VII, ADWD

[kings-highway]

Fighting off severely suffocating boredom at work so here are some haikyuu headcanons and shit for some of my favourite characters and ships with no particular theme

Asahi and Daichi do a lot of very casual bets or gambling with each other, and Daichi almost always wins. And if he doesn’t win, he’s nonchalant enough about it or is able to spin it so that Asahi doesn’t even really process it as a genuine win. Asahi is constantly looking for a chance to “beat” him but the harder he tries the more it seems Daichi keeps winning. 

I think, and I’m not afraid to say it, I think Tanaka can sing. Even if he has no interest in it and doesn’t even know this himself. 

A list of characters I think can sing beyond well, like, just, stupidly well: Tsukki, Ushijima, Oikawa, Semi (obviously), Fukunaga, Asahi, Kita

A list of characters I think can’t sing quite as well but have a lot more fun: Suga, Daichi, Kuroo, Yamaguchi, Matsukawa, Tendou, Atsumu, 

A list of characters I think can’t sing at all, and have the most fun: Bokuto, Futakuchi, Noya, Hanamaki, Hinata, Tora

Tendou cannot swim. I actually hold this one right up there beside Ushijima having a bee allergy in that you’re safe to assume it’s true in all my fics unless proven otherwise. Tendou can’t swim, Ushijima can be killed by bees. Perfect. 

Iwaizumi has an anger response to his own jealousy because he hates that he’s a jealous person. He spends so much time trying to verbally tell people like “no jealousy is bad, trust in a relationship is important and being possessive isn’t a good thing,” and then he’ll turn around and see a guy just like, handing Oikawa something he dropped and will immediately cycle through: “oh, he needs to take ten steps back right the fuck now before I kill him - goDDAMNIT HAJIME THAT’S NOT NORMAL-”

On the topic of jealousy for some of my favourite ships… 

A list of characters I think do experience a heightened degree of jealousy: Iwaizumi, Tendou, Noya (specifically when he’s not in a relationship and doesn’t know if the other person Asahi likes him), Aone (but he just gets sad about it and doesn’t do anything), Tora

A list of characters I think experience a totally normal amount of jealousy: Suga, Oikawa, Bokuto + Akaashi both, though Akaashi hides it better, Kenma (but mostly for the best-friendship stuff with Kuroo he’s not worried about him as a boyfriend. He can get another boyfriend. He’s not sure if he can find another person who knows every food order he has and doesn’t make him talk to waiters)

A list of character who really think their boyfriends should experience more jealousy and be a little more concerned about the fact that they could, like, totally be getting hit on right now: Suga, Tendou

A list of characters who really don’t understand why they’re getting yelled at for trusting their partners and feeling safe in a relationship they’ve worked hard to curate healthy communication in: Daichi, Ushijima

Suga’s first kiss was with Daichi but about a year before that he had lied to look cool and said he’d kissed one of the basketball girls and it’s been fifteen years of a relationship now and Suga hasn’t had the guts to start unraveling this very minor detail and just continues to tell the story of this fake first kiss even to groups of people who weren’t involved in the initial lie and don’t know Daichi. 

Iwaizumi regularly donates blood, and he got the other Seijoh 3rd years doing it, and then it spread and it’s like a weird group activity but when they convinced Kindaichi and Kunimi to come along for the first time Kindaichi discovered he has a phobia of needles and then Kunimi fainted after his blood was drawn and he tried to stand up. 

Tendou once tried to give himself scurvy just for the challenge of trying to avoid vitamin C. He only failed because he got bored and stopped caring. 

Oikawa kept a journal all throughout middle and high school, and to be little shits, Matsukawa and Hanamaki stole it to find either blackmail material or just something to make fun of him for, but what they actually found was a really genuine journal filled with a lot of really normal but affectionate thoughts like “Wow the team is so good, here’s all the reasons why, I really think these guys can take us to nationals, I hope my own ego doesn’t stop us from winning” and a series of long, thoughtful insights about his day and his friends and his future plans and goals and there were technically things in there they could gossip about (like confirmation on a few pages regarding his crush and/or relationship status with Iwaizumi) but overall they just felt really bad about it so they never told anyone they’d opened it. 

I know everyone really loves filipino Iwa, but hear me out: Indian Iwa. i have more thoughts on this. maybe for another post.

Atsumu once spiked a serve into Kita’s face so hard his nose started bleeding and he had to sit out the rest of practice because he couldn’t get it to stop. Kita kept insisting it was fine but the bruise on his face the next day made Atsumu want to resign from the school entirely. 

Daichi is the only Karasuno third year to hold a job before graduation.

Kita has a really low pain tolerance but a really high level of “mind-of-matter” ability. 

Daichi has a really high pain tolerance.

Tsukishima also has a really high pain tolerance. 

Tendou has a very low pain tolerance but he’s a masochist so it’s okay.

Oikawa has a higher pain tolerance than Iwaizumi, and this is set directly below “height” on the “things I hate about Oikawa” list Iwa keeps

Michimiya probably would chat with the boys more but she keeps coming to their gym and seeing things like Noya throwing Asahi around, Kageyama throwing Hinata around, Daichi screaming he’s going to ban them all from the club, Tanaka is never wearing a shirt, and Yachi is always near tears and every single time she just decides to not bother.

Anyway idk i guess that’s all. Part two? Idk you tell me. 

[thesunshinecourts]

five curiosities for the next book, after reading the sunshine court

a non-exhaustive list, but five things i'm curious to (hopefully) find out more about in TSC2, or that i have questions about still:

what happened at the trojans' fall banquet (presumably jeremy's first year)? it's a Scandal, and jeremy cannot stand to be around bryson, and annalise has never forgiven him for sticking with exy after that, despite having attended all his games in high school. given the allusions to his stepfather, and also his step-grandfather being a congressman, i can see how jeremy's sexuality might be relevant to the situation—especially if we read into lucas' stiff apology and shame at his implication about jeremy and jean as being born from more than just common decency, but rather knowledge of this being a previous sticking point in terms of jeremy's scandals—but i also keep thinking about what cat said. jeremy has—three. two brothers, one sister. the way she says it, how it sticks out to jean as an odd switch, and the fact that we've only met two siblings – it makes me wonder what happened to the third. or if that's even the right question to ask, regarding jeremy's siblings.

elodie. i'm curious if we learn anything about what happened—by and large, i kinda hope not, if only because then jean has to too, unless it turns out stuart is lying, but that's a very different kind of fallout. (i don't actively theorise he is—at some point, these kids will run out of tolerance for ghost stories coming back to life—but i think its possibility ought to be considered, at least). i think we'll get more flashes of her from jean's thoughts, though, and i anticipate lots of heartbreak lmao

lucas. assuming stuart's contact comes through, and neil's hit goes ahead, we've got lucas in the aftermath of finding out his brother is a monster, and jean saying not to call the police, and then possibly his brother being dead. if it happens any other day—if it happens in west virginia, especially—i suspect lucas might be able to look at it like another domino in the ravens machine falling down, or even that something horrible happened to him when he returned home, but if it's still in LA, after what he did to jean, after jean said no cops-------i can see how that might twist into something more suspicious. who knows! i'm curious to see what happens there. grayson is a monster, but he is still lucas' brother. aaron and kevin still have complicated grief about tilda and riko, and they were their direct, constant abusers; cass never learned until after the fact, and lucas is in a complex space between the two parts of that spectrum. if grayson dies, i think the fallout will be unavoidable for exploration

this is a small one but man, i just want to keep seeing jean's list grow. it tears something out of me every time, and stitches me back together, and i want to go through that over and over, because i want to see a jean who not only hears that his life is his and worth living, but a jean who learns to believe it too

i'm just kinda assuming we see the foxes again, because i remember nora's character list having new details about characters who didn't show up in this one, but i'm also quietly hoping for more thea. their scene made me ache, and he'd never had good defenses against thea, and kevin knew that. jean would kill him for bringing her here made my heart do the !! double-tap. i'm extremely invested in jean, thea and kevin as a unit, and it would be so incredibly wonderful to see more

[narklos]

Half-Lore #3: 66 HL Facts!

Make your 'counting to three' jokes in the tags please. Back with another instalment, this is one I've been looking forward to! 66 random facts spanning the entire Half-Life franchise (bc I couldn't fit 100 in one post due to numbered list character limits...) If you have any suggestions for other instalments of Half-Lore, please let me know.

Have a peep under the cut, and enjoy!

Gordon can speak, as confirmed in a series of letters that were included in HL1's box. They mention that L.M and him had a telephone call prior to Gordon's arrival.

Speaking of L.M, he was the original administrator for Black Mesa. L.M was the G-Man, though his full name is never revealed.

Barney and Breen were both meant to appear in Half-Life: Alyx, but were cut due to a hard reset on the game's development.

Gordon is apparently very clumsy. Eli jokes about it in a series of cut voicelines.

Prior to his appointment at Black Mesa, Gordon was stationed at the University of Innsbruck in Austria.

Russell's complaint about being told to apply a year later after his interview at Black Mesa is a real-life hiring process that Valve uses.

Marc Laidlaw mentioned that the baby photo in Gordon's locker is probably a nephew, making Gordon an uncle!

Bullsquids have a 'hungry' mode. If they find a dead headcrab, and they're in hungry mode, they'll eat it. Otherwise, they'll play a sniffing animation and walk away.

In HL2, you can bonk NPCs on the head during a cutscene to make them teleport. This is because the game thinks that the character is trapped by a physics prop, and will teleport them to the next segment in the cutscene to free them.

On Kleiner's clipboard during his first cutscene, what he's saying about the HEV suit is actually written on the paper word-for-word.

Barney has a girlfriend called Lauren, and a picture of her in his locker. The woman in question was a real-life girlfriend of one of the devs.

In one of the OP4 skyboxes, a dev has written the note "Hack hack hack all day long. Hack hack hack while I sing this song."

The mysterious artefact Alyx brings back to Black Mesa East is the head of a Cremator, which was a cut enemy.

HL2 was originally meant to take place in New York.

Headcrabs don't turn Gordon into a zombie because he apparently never lets them get close to his face.

Colette gets a kick out of violence.

Gordon was employee of the month when the Resonance Cascade happened.

A special rebel outpost along Route Kanal will start playing ambient windchimes if you hang around long enough.

Breen was meant to wear a pair of glasses, but Marc Laidlaw went against it, citing that they made Breen look 'vaguely homosexual'.

Russell was originally meant to be Laszlo, the finest mind of his generation. His computer's password is actually 'Laszlo' too!

There are props clipping through Russell's ceiling intentionally- objects will phase through each other during portal storms, the likes of which ravage City 17.

The Citadel wasn't built on Earth, per se- it was teleported in chunk by chunk like the world's biggest IKEA assembly.

G-Man cannot understand the Vort's language, and the Vorts use by-words when discussing him and the Advisors to avoid detection.

Combine Advisors cannot breathe Earth's atmosphere, hence the breathing apparatus they wear.

There was meant to be a fourth day of HL2's plot, but it was shortened to three. Players would have fought through a museum.

Eli lost his leg to a bullsquid when he was helping Kleiner into City 17.

Kleiner and Barney were meant to die in a bus crash in HL2's opening sequence. Marc Laidlaw wrote a short story discussing their deaths in rather graphic detail.

In Decay, there was a cut sequence where players witnessed Gordon getting killed if they didn't scare away the soldiers in time.

Despite 20 years having passed in reality, only around two weeks have passed for Gordon due to being in stasis.

For HLA, developers scanned in a $10,000 Nordstrom suit to use for G-Man's textures.

Level designer David Casali, who has worked on every single mainline HL game, was too tall for a lot of the levels in HLA's Vault sequence. This lead to a lot of upside-down sections being cut for accessibility.

G-Man was meant to be an unwilling prisoner in the Vault, as revealed in a storyboard in The Final Hours.

The Nihilanth is inspired by Gabe Newell's fears of fatherhood, as he'd just had his son at the time.

Nothing is native to Xen. Every alien animal present on Xen is running away from The Combine's invasion of their homeworlds.

During Opposing Force, players can find a gear and a valve inside of a cardboard box- a very clear nod to Gearbox and Valve!

Barney's model changes subtly from HL2 to Episode 1- he's shown more dishevelled, with his hair unkempt and a series of cuts on his cheeks.

G-Man's face is hidden in the Xenian crystal at Black Mesa East.

Alyx was found by the G-Man, sitting beside her dead mother and clutching her mother's wedding ring.

Child labour was meant to appear, with models and animations of the children working in Cremator factories made. This, understandably, were cut, and the lack of children explained away with the suppression field.

G-Man's crow friend is nicknamed 'Crowley'.

During the tactical map section of Surface Tension, you don't have to use the drone strike to destroy the doors leading to the next level- you can actually break it with a fully-charged Tau Cannon shot.

Typing 'haiku' in the game's console will generate a random haiku for you.

Imprisoning the G-Man in HLA was referred to as putting 'God in a Box' by developers.

HL2 on PC and HL2 on Xbox 360 sound wildly different! Due to advanced sound chips, developers were able to push the audio of HL2 to be more immersive and sound more realistic than on PC.

Grigori's shotgun is called Annabelle.

A model of Eli naked exists. This was meant to be used in the section we see him in the Combine pods.

An illustration of G-Man holding a gun to his head can be found on the back of a sign in HLA.

Similarly, in the Index HLA home environment, his eyes are used as part of an advertisement for 'vision enhancement'.

You can find a minifigure of the Scout in HLA.

The textures for some of HLA's cans actually use a recoloured metal effect from HL1's orange poster.

Grigori has cut crosses into the backs of his hands.

Inside G-Man's briefcase is pencils, ID, paper, and a gun.

The shadowy woman in HLA is called Hahn/The Contractor, and according to Erik Wolpaw, they 'have plans' for her.

A cut enemy called Mr. Friendly was meant to literally SA the player and knock Gordon's glasses off, blurring the screen. Apparently, the idea was to play on a gamer's subconscious (or conscious...) homophobia and make them freak out. This enemy was actually designed by a teenager, and was predictably scrapped.

Early advertisements for HL1 featured babies and children with lambdas replacing their eyes.

HL1 is intended to be an allegory for fighting your own inner hopelessness.

Valve's offices have a wall built to resemble the moving walls of the Citadel.

G-Man has had a total of 11 different models throughout HL's history.

Breaking the army crates in the Dreamcast port of HL1 will reveal copies of Sonic Adventure inside.

Gordon is from Seattle, Washington.

HL2 was delayed a lot during its development. At the time, many swore never to buy from Valve again due to their broken promises.

HL2's E3 demonstrations were staged.

Colette was employed by G-Man, but Gina died.

During a Reddit AMA, a dev responded that we shouldn't keep making Gordon feel bad about his outdated hairstyle choices, when asked about where his ponytail went.

A metrocop's hideaway can be found in the level after the zoo in HLA. Due to the amount of conspiracy theory paraphanelia, the room is theorised to be Barney's.

The act of covering your mouth to stop the fumes of Xenian flora from affecting you in HLA was implemented after playtesters instictively covered their mouths when sprayed.

Thanks for reading to the bottom! Here's some top notch BREENWAVE for you.

[lady-embers]

Disproving the narrative of 'Azriel won't get his own book' + Who Will His Love Interest Be?

When asked if Azriel would get his own book... this was her answer:

In another live she mentions she knows who the next book is about but wouldn't mention if it was a male or female main character, but there will be a pegasus in it, and again she said it was pretty obvious!!

When she was asked a question about Azriel's shadows she had this to say:

"When it's time for HIS story to be told"

^All that proves Azriel will get his own book, in my opinion and..

As for who his love interest will be?

Well... this is her answer on characteristics that an enticing love interest would have...

Who is it that has Azriel feels a spark in his chest for in the bonus scene of HIS (which takes place between Ch.58/59 of ACOSF)? Gwyn.

Who is it that Azriel attention is fixed on more and more after feeling that initial spark in the bonus scene throughout the rest of ACOSF? Gwyn.

Who is it that has history with Azriel, as well as her own history left to still be explored? Gwyn. Reminder that Sarah wrote that Azriel was the one who saved her, slaughted the soldiers without hesitation, and even gave her his cloak to cover up with.

Who is it that can challenge Azriel and has bantered with him? Gwyn.

I also found this question in a live and her answer interesting when it comes to the Valkyries bracelets:

She went with her 'spiritual gut instinct' as to what colors she associates with the characters.

And in the scene with these three making the bracelets in Chapter 59?

Gwyn's bracelet: Blue, White, and Teal.

What do I think these colors could mean?

Blue for Azriel. Teal for Gwyn's eyes.

White for her powers (to compliment Azriel's darkness) or even when Gwyn does feel worthy of the Invoking Stone (which is also Blue). Gwyn even mentions this about the Invoking Stone in Chapter 15:

“It’s an Invoking Stone.” Gwyn unfurled her fingers, revealing the gem within her hand. “Similar to the Siphons of the Illyrians, except that the power of the Mother flows through it. We cannot use it for harm, only healing and protection. It was shielding us.”

And there is this to when Gwyn was holding the stone: It fluttered with light, like the sun on a shallow sea.

The Invoking Stone is similar to the Siphons of the Illyrians.... Gwyn has a Blue Invoking Stone that matches with Azriel's Siphons and the Invoking Stone is used for healing and protection, which is the perfect counterpart to Azriel killing...

Also, in regards to that earlier picture where she mentions the next book and a pegasus....

Who in ACOSF was most loved by a certain pegasus? Gwyneth Bedara (P.S. this was revealed during the ribbon cutting scene in Chapter 60, which I will post below, and again happens after the bonus scene takes place.)

"As if it had been following one path and now branched off in another direction" and "Right then and there. That's when it all changed." <--- This to me is Sarah telling us her plans changed and in this scene both the world and Azriel paused/stilled..... and he stilled as if aware that far larger forces peered into the ring as Gwyn moved.....

I think it's clear after reading ACOSF that Azriel will get his own book given how much he was prominent in it, and taking into account the bonus scene, and what happens after..... Sarah has shown us who his love interest will be.

These two will heal and grow, both individually and together, and I can't wait for their story to be told. 🥰❤🥰

[magpie-come-east]

I dunno very long spoiler-filled rant ahead! I love Miquella!

I genuinely think Miquella’s story is one of the best told ones in Elden Ring. Completely seriously. It’s no secret that I think most people who hate SOTE for his characterization are willfully ignoring or misinterpreting his tale in the most unflattering light they can muster. But every time I think on my own experience, it’s just so satisfyingly heartbreaking.

Of course if you the player make a beeline for the end goal, you’ll miss context. I don’t think that’s a failure of Fromsoft storytelling at all but of the impatience of said player. It’s an open world meant to be explored. If you don’t explore you’ll miss out!

Plus, nothing about Miquella’s story is meant to be a surprise twist. ‘Miquella is an evil manipulative monster’ is not the end-all of his character lmao.

It begins with you meeting his followers. The game corrals you towards most of them- 5/7 can be found in very close together at the beginning. We learn they are people with very different goals compelled to work together for their shared love of Miquella. Neat!

Ansbach directs us to seek out more crosses. We are asked explicitly to look around. We can find miquellas discarded eye. Where he abandoned his doubt and vascilation with purple versions of Empyrean blood flowers. Ansbach grows weary. Miquella is severing his grace. He has shorn away Trina. We are seeing the cracks in Miquella’s plan. Explore a bit more, and you find a cave sealed by Miquella. hmm.

We pass through Castle Ensis and find another cross: “I abandon here my heart”. Personally, this rocked me pretty hard my first playthrough. While it’s terrible enough to imagine someone tearing away their own flesh, the heart is an organ someone cannot live without. Now more than ever, we are assured he is destroying himself.

Then you approach the Shadow Keep, and the Great Rune breaks. This is another deep blow: the Great Runes are pieces of the Elden Ring manifest. They have been the macGuffin of our quest. And Miquella destroyed his. Things are getting out of hand.

Return to your new friends, and the facade is truly unraveling. Ansbach reveals he tried to murder Miquella, and was charmed into complacency to forget his loyalties to Mohg. Leda reveals herself to be a paranoid serial killer (the point driven home if you found the Oathseeker armor earlier in the game). Hornsent has committed to his quest for bloody revenge. Thiollier’s love was always for Trina. Moore is deeply sad- having been abandoned by his ‘mother’ (Malenia). We come to understand that Miquella’s peace comes at a cost, but we are not yet quite challenged to question it. Miquellas followers are violent or miserable. Perhaps it was best for them to be charmed.

Now, we can find Trina if we follow Thiollier. Miquella hid her away. She was his love. The horror mounts. Trina tells us in secret dialgoue to kill Miquella to spare him Godhood. He is nearly too far gone.

Now, we can either enter the Keep or explore further. We can meet a Carian sorcerer who understands the connections between the Greater Will and the Stars. He speaks of Miquella feeling duty-bound to right Marika’s wrongs. Ymir sympathizes, but hints the endeavor was doomed from the start.

In the Shadow Keep, we can learn the full extent of Miquella’s plan. He orchestrated (at least in part) Mohg’s demise. Then he desecrated his body to ensure his ascension- a mirror to what we encountered in the base game of Mohg using Miquellas body to raise his own god. We are now challenged formally to consider Miquella’s goals: Can Miquella’s Age of Compassion be just if it is also built on control and iniquity? How much of Mohg’s madness was Miquella’s fault, and was it okay? We are also, in hindsight, point blank told Miquella is using Mohg to revive Radahn. Radahn is not a twist either if you’re paying attention.

The story concludes at Enir Illum. We face down Miquella’s desperate and angry faithful. We confront their pain and want for a kinder world. We ally with people who represent those that suffered for that peace to be achieved (Mohg and Trina). We see Miquella discarded his fears, and know to the end he was terrified of Godhood. This was never about power for him. He wanted to do what was right. He sacrificed himself, too.

Yes, a lot of this can be missed. But it’s our job as guests in this story to give it its due. It’s our own fault if we rush through everything and miss the side quests and character beats. No one piece of lore is the vital ‘twist’ of the tale. All of it builds a narrative of tragic sacrifice and good intentions gone awry. It’s beautiful. Reducing it to ‘Miquella was the bad guy all along’ betrays a fundamental misunderstanding of what is being portrayed imo.