#i don't really remember much about what happened within the episode

[grinchwrapsupreme]

had a dream last night that there was an episode of Ghosts that we all just missed somehow in between Last Resort and the christmas special and as i was watching it i was thinking to myself "man i wonder which one of them wrote this" and then there was a scene where pat kept trying to talk to the captain and he was like weirdly insistent and it wasn't even anything specific to the captain he just NEEDED it to be the captain he told and i was like "ah ben willbond wrote this"

[fastest-yeast-in-the-east]

The more I think about it, Midori was kinda an idiot and not even because the players fooled him during the banquet. Midori likes to act powerful and like he's always the one in control, but then you remember his job description is 90% just:

Die

And when you really think about it, it doesn't seem like ASUNARO valued or liked him. I mean, if nothing else, they at least trusted him to go and get all the participants to sign a consent form, which, from what we know, was a pretty important task, but aside from that, ASUNARO really just told him

Like, at least the other floor masters, Miley and Gashu weren't just flat out told to die (Gashu just sorta decided to, anyways). It really makes you wonder how ASUNARO viewed Midori. From what we know, he was originally intended to be a participant himself until he "died", which just further implies that ASUNARO was itching to get rid of him. Who replaced him, if anyone (ASUNARO could have planned for 21 participants, counting Midori, or they replaced him with Kai), is unclear, but if Kai was meant to serve as a substitute for him as ASUNARO's traitor within the participants, and knowing how Kai was considered a non-candidate who wasn't meant to win (and we all know what happens to losers in the death game), it all just heavily supports the idea that ASUNARO wanted nothing more than to kill him off.

If you were working for a company that wanted nothing more than to put you in situations where you were all but guaranteed to die, you wouldn't want to work there anymore, would you? But Midori does. That plus his overwhelming fear of death, makes him look like a really big idiot, and to be honest, I think he may really be one. Sure, he's smart in a lot of ways, being skilled at manipulation and pressing people's buttons, not to mention reprogramming Maple forget her original purpose is to kill him, but he also just couldn't see that his boss clearly had it out for him.

So if they hate him so much, why even hire him? I believe, that in Kai's mini-episode, a silhouetted figure appears whose hair resembles Midori's. This has led many to believe she is Midori's mother (which might explain why he's so screwed up, if he was raised in ASUNARO). If his mom already worked there, and probably outranked Gashu, that could have influenced ASUNARO's decision when it came to employing Midori.

AKA Midori is a nepo-baby.

ASUNARO hired him even though they didn't want to and either his mom didn't actually care that much about him (otherwise she might have objected to the killing of her son) or has retired or died and then ASUNARO had an employee who they don't want nor need. In other words Midori's relationship with his employers is more like

As the only floor master whose death is actively sought out by ASUNARO, Midori might actually be pretty low down on the totem pole, I'd say below the other two floor masters, but just above Ranger and Safalin who aren't really floor masters. Midori clearly doesn't understand that ASUNARO would 100% let him die, seeing as how he pleaded to Meister right before he died. At the end of the day, to them he's just a problem child they can finally do away with. The experiments ASUNARO let him do on other people "until they broke or he got bored" were probably just ASUNARO keeping him entertained to shut him up for a while, more or less treating him like a literal kid.

The more I think about it, ASUNARO clearly values Midori especially little, and it's honestly a little funny to think about. Him and his experiments really just make him the death game equivalent of a tablet kid.

[genericpuff]

Are there any things you like about LO? Or is it all shit to you. Personally, I think it could be a great storyline with the right execution, but a lot of the stuff and plot is unnecessary (I.e. Hades being thousands of years older than Kore and making characters fall in love with people they are racist/classist towards 😨😨)

Oh there are LOADS of things that I liked and still enjoy about LO despite all the shit I've thrown at it. I love love LOVE a lot of the older art-

Like, damn, that shit is so charming! I swear I had that Tower 4 panel as my phone background for like, 2 years LOL

Rachel had a really strong understanding of shape language, composition, color theory, and expressive linework in a way that was really appealing and unique at the time, but along the way it was just lost, undoubtedly due to her taking more of a backseat in the character art process and leaving it to her assistants.

That said, there's a lot of... not so charming, too.

I think, on the one hand, there's a lot to appreciate in the old art that shouldn't be rejected as we criticize this series. At the end of the day, as much as we riff on it, many of us did love this series at one point in time, so we shouldn't cringe at what it used to make us feel or pretend like we were ever above it when we were very much lost in it for ages before it went down the tubes.

But there is a lot to be said about the effects of rose-colored glasses, and how LO was never perfect. The reality is that much of Rachel's work is exemplified by the odd beautiful thing that sticks in our memories, but when we actually go back to relive those memories, we find they're all strung together by some not so beautiful stuff that makes us go 'wait what???'

Case in point, with LO we remember beautiful compositions like this:

But then within those same episodes we get:

And it's like oh. Yikes.

Aside from the art, there was also the SA plot as well as the Act of Wrath. The SA plot felt really special to me at the time because I was someone who was once in Persephone's shoes, being pressured into sex that I wasn't ready for but wasn't capable of saying no to. I can appreciate what Rachel was trying to do with that plot, but over time it became clear that she wasn't committed to seeing that plotline through and so I kind of just dropped my expectations for it entirely.

That said, it wasn't the SA plotline that set me off. I had good faith in that one still that it would be addressed eventually. It was the Act of Wrath plotline that did me in. The premise of it was totally my cup of tea in the way of "quirky character has a dark evil backstory!" which is shit that I absolutely LOVE, but then when the "twist" happened that Eris was the one to give her wrath, that was literally when I had my almost "canon event" moment of realizing "wait... I don't think Rachel knows what she's doing." And then it was just all downhill from there. The S2 finale sealed my fate LOL

All that said, as much as my brain is often defaulting to "ew! gross! bad!!!" in all honesty I do still appreciate what LO meant to be back when I still enjoyed it. It meant enough to me that I just couldn't let it the fuck go when it started to go downhill, so much so that I started making my own version of it! And that's something that sets it apart so much more from other comics I really don't like anymore (or comics I never liked to begin with) like Down to Earth, The Kiss Bet, Let's Play, etc. where I really can't even be bothered to think about them let alone talk about them to the extent I do about LO. I may be full of beans when it comes to LO, but I'd still rather be talking about it and all its failings and what it used to mean to me than about any of those other works. I loved it enough to still want it in my life and that's what Rekindled has accomplished for me.

[steamberrystudio]

2024 wrap-up and 2025 plans

It's been a really weird year for me and the last few months have been particularly challenging - so much so that I can't really remember much of the start of the year. There's been a lot that has happened and yet it feels like almost nothing has happened.

With a personal move in the works at the moment, and lots of lists and packing and cleaning, the last couple of weeks have felt like a blur of limbo as well.

But rather than just complaining let's jump into the wrap up and plans for 2025.

2024 Progress Wrap up

When looking back over a year of visual novel development, it can be really easy to forget progress and victories because it all smears together into an indistinct timeline.

You know stuff happened but you lose sight of the details of that stuff.

Even while writing this last night, I forgot that A Faerie's Tale was something completed and released this year. I remembered it just now while doing a final proofread of this post.

Development is such a long and repetitive process that you forget all the individual steps it took to get where you are. When I look back over 2024, I admit I feel like I somehow didn't do that much...that time slipped away while I did very little actual work.  

And of course, that isn't true. (Or is it?? Self-doubt assures me that I didn't do anything noteworthy this year.)

When Stars Collide

At the start of 2024, When Stars Collide sat at 485,000 words. I was finishing up editing Asher's route but had portions of the other routes to draft. The UI was still the old design, most of the backgrounds were incomplete and none of the additional features like the flowcharts and affinity meters were set up.  

I wanted to release an updated demo and the more new people told me they were playing the demo, the more I died inside because it was not at all reflective of the project any more. But I was missing critical backgrounds that I actually got only a few weeks before Episode 1 went to beta.

The point is that back at the start of 2024 the game was still very unfinished but I had big plans. My goal was originally to start releasing episodes in June of 2024 but editing and coding just took so much longer than expected that it just wasn't possible.

From a writing perspective, I learned that drafting and editing a game in this overlapping route style was hard. It was just genuinely so much more difficult than the separate route structure I'm used to. It really requires different processes and styles of planning than what I've done in the past. The burden of meticulously matching a timeline of events across 6 routes simultaneously is really tricky with the way I write and form the choices in my games.  

You kind of have to either never refer back to anything that happens within a choice scenario or you have to remember and track a lot of variables and conversations and events. Additionally, writing one plot line from multiple relationship perspectives is actually quite tricky. Things have to align in very specific ways but you also kind of want to make sure that each play through is interesting. You don't want the conversations within the LI-specific content to be identical but they have to be similar enough you can manage the difference with a few key variables.  

I honestly found it a really exhausting way to write. There's so much less complexity and so much more freedom when you are writing separate routes. And for that reason, the writing took a lot longer than I am used to.

One day I want to write up all my thoughts on route structure in visual novels but I haven't had time yet.

Ultimately I drafted about 172,000 words this year. The total word count of the game before I coded it was around 657,000 words - plus an additional 8-10k or so of bonus content. Of course, that shrinks when I code it but that was the total uncoded word count. So that is quite a jump from the 485,000 words I started with this year.  

I always say that working on VNs really skews your view of what "a lot" of words is. To me, as weird as it is to say, 180k doesn't feel like that much writing, which is silly because it's like writing two YA novels.   

But between the end of the Kickstarter for Gilded Shadows and the end of that year, I think I wrote about 250,000 words. That's 70,000 more words but in less time. I think it just shows how much more difficult writing WSC has been due to the structure of the routes.  

I remember having a conversation with someone once where she told me that writing a game like Gilded Shadows is *definitely* harder and more work than writing a game like When Stars Collide. GS has multiple plots and a lot more words. In WSC, the routes share a plot, they share scenes and content, there's only one plot line and there are far fewer words.  

I think it really underestimates the simplicity buff and the freedom buff that you get from having a single separate route in its own space time where you don't have to care as heavily about continuity across routes or a shared timeline of events or all of this other stuff that was such a burden to me when writing overlapping routes.  

I maintain that I'm really glad I wrote When Stars Collide the way I did. I learned so much about game structure and choices and all this mechanical stuff about how visual novels work that I'd never really had to think about for. It was really, really enlightening.  

But I will never do this game structure again. Lemme just say that.  

Drafting aside, I had to also edit all that writing which was its own special layer of hell.  

And then the art. The art has been enjoyable. I really love this game's aesthetic and the character designs. And the characters. I really enjoy them all so much. They are the most adorable crew of nerdy gremlins out there.  

But the art has had is own challenges. I've done about 20 CGs for the game so far and a lot of them are easy enough but the colour slider MC is definitely a bit of a challenge for the CGs. With GS where I recoloured by hand, there were times that I had to slightly tweak Morgan's default colours to look good in CGs. For instance, one of her skin tones looked quite odd next to Magnus, who is very pink. And I had to just slightly tweak that skin tone in his CGs so they looked okay together side by side. It was easy to test that sort of thing before the CG even got into the game.

But I colour Wil in greyscale and I don't see them in colour until I test. And each colour available on the slider is represented by a number. And there are essentially 100 of them. So testing all of those isn't really viable. I do test multiple skin tones from my saves. But in some ways it's more cumbersome to make sure all of that looks good.  

Wil also has 8 hairstyles…in two colours (which are recoloured manually because a couple of the hairstyles just don't really looks as good recoloured automatically (it's my art, not the dynamic colour slider tool).  

It's a lot of work. Hair 5 usually puts my hand out of commission for the rest of the day (so I save it for last. Ha ha). I don't regret it and again, it's something I wanted to to do as an experiment. I knew that 5 hairstyles was probably manageable and 8 was definitely pushing and I was right so no hard lessons really learned there.  It's sometimes valuable experience to push yourself right to that line and really see where the division between "feasible" and "too much" really is. Because then it's no longer hypothetical. You know where the line is.  

A lot of how WSC is set up was me testing if the line was where I thought it was.

Beyond the art, I also got all the other new features set up and experimented with a few things I hadn't been planning on. Many of those features had the core elements set up and coded by wonderful programmer friends and colleagues (Feniks and Windchimes and Jeneara) but I still had to implement all those things in the code to make them function as part of the game.  

Which, for things like the flowcharts - is time consuming. Flowcharts are like that.  

The flowcharts in WSC use a different method than the ones in GS. It's a brand new tool and I'm still learning how to use it but there are also some kinks that rear their heads (not those kind, you guys! The annoying kind that break the game!)  

I think the feature most people are most excited about would be the save screen. It's quite popular. Ha ha.  

With all of that stuff done, I was able to finally….*finally* release the official version of Episode 1 to Patreon and on Itch.  

And I released Episode 2 (minus two CGs that have been delayed by an abrupt move to a new place and me just not having time to draw right now) to Patrons in early access. (and the Itch version should go out mid-January. I hope).

So the point is…that is actually a fair amount of work that has taken place this year. And a lot of challenges that have been met and overcome.

A Faerie's Tale

Another thing I did this year was finish and release A Faerie's Tale as part of Amare Fest and with a team of friends to help out.

AFT is a concept I've had since about 2020 (prior to WSC actually). It was based on a dream I had as was always meant to be a cute little side project. But it kind of fell by the wayside in favour of my larger projects.

Being able to get it released was definitely fun. Jen and I definitely want to go back to it and release Lachan's route though - it was something we didn't have time for previously and it would be nice to get it truly complete.

Thornewood

And while I haven't specifically mentioned it anywhere outside of my server and Patreon...

The truth is...

I've secretly been planning my next project. But not really all that secretly since I have mentioned it a few times.

I've been torn, for a while, on two projects I'd like to tackle. One is called The Crown Wheel and the other is called (tentatively) Thornewood. I still go back and forth over which one I really want to do next. 

Crown Wheel is the one I *really* want to get out there. It's another story that's close to my heart with some ancient characters of mine that I really love and would love to throw out there for other people to enjoy. But…

Thornewood is a bit more solid a project when it comes to planning and plot. Crown Wheel is a little more nebulous in terms of where the story would go. I'm getting side tracked…I'll get into this more in my 2025 plans.

I have not been working on any other project regularly or in any truly significant way. I've really been working on outlines and character profiles more than anything and I typically do it late at night when I can't sleep but can't draw any more because I'm resting for the day and while I just don't want to be working on WSC because I worked on it all day.

I think I have about 13000 words of outline. I did a rough summary of each route and have been trying to expand those and detail them out a little bit more. So technically that is work I've done this year too.

2024 still somehow feels like a weird year for development. I can't articulate why but it definitely was an odd year for sure.

So What are my 2025 Plans?

That's really the big question at this point. What is in store for Steamberry Studio?

First and foremost, the plan is to get When Stars Collide fully released. This isn't as straightforward as it seems though. With the writing complete, I'm focused on the coding and art, but...

Coding expressions is currently a bit tedious because there have been a ton of group scenes in this game so far. This is because it is somewhat of a 'closed set' so when you are not 1x1 with a love interest…you tend to be with a group. This will diminish in upcoming chapters as the plot kicks off more and you also get longer scenes with the love interests. But unfortunately it does come back in the last few chapters.  

But for now I'm looking forward to heading into parts of the game that are more 1x1 or at least smaller groups at a time.  

Additionally the CG situation has been somewhat up in the air for me. I was originally planning to do CGs in every chapter but I wasn't sure if that would a) be sustainable for me and b) make sense.  

I suspected that there would be chapters coming up where there just weren't necessarily any good CG moments. So the "CGs in every chapter" thing was always going to be a bit squishy.   

I know, for instance, that chapter 6 probably won't have any because there aren't any good moments for it to be honest?  

Anyway. I am thinking that I may take a less formulaic approach to CGs and focus on making sure there are CGs in every episode if not every chapter. Maybe chapters 5, 8, 10...and then...Idk. One or two of the ending chapters. 

Even if it's just four of the remaining chapters, that's still 24 more illustrations for the game. Which I feel like is a very reasonable amount considering there are already about 20. 

Another thing I'm really going back and forth on is the nature of episodes moving forward.

Do I want to continue with 2 chapters per episode or do I want to drop to 1 chapter per episode? I battle myself on this all the time. It's such a hard call for me.

One challenge with moving into single chapter episodes is that I just feel the episodes would be less satisfying with only one chapter. Realistically the chapters aren't that small - even the short ones are more than 30,000 words each. That's...half a YA novel.

But, again, *realistically* when we reduce that to a play time, it's not that much.

People consume unvoiced visual novels at a rate of about 250 words per minute. That means 15,000 words per hour.

So 30k is just two hours of content. When you start dividing this up between "main plot" and "LI route content", you start whittling away at how much content *per character* there is. If there are 20,000 words of "LI content" - yeah, that's more than half the chapter. But that gets divided by 6 characters. And that means 13 minutes of playable content *including all the choices* for each character which isn't a lot. And most people are not going to play through every choice option.

Which means people could be getting through the unique content for their favourite character in less than 10 minutes.

By combining chapters, that means we get episodes that are 70,000 words or 90,000 words. It boosts the amount of content per character by a significant amount and that is really what I'm looking at when I consider episode layout. 

I try to think about what is going to make for the most satisfying episode for players. The drawback of 2 chapters per episode is that it's…a lot. It's a lot of expressions. It's a lot of flowchart work.  

It just takes more time.

Regardless of whether it's just 1 chapter at a time or whether it's 2 chapters at a time, I really want to move forward with steady releases and get the game fully released to players in 2025. That is obviously my primary focus going forward.   

The story is finished. It's burning a hole in my laptop. (Not really). But I want to get it released.

Having the story already written but delivering it in smaller bites to players is doing a lot to save my drawing hand from inevitable doom but it's so hard for me mentally. I know the things coming up in future episodes and I'm so keen to release it and see reactions and talk to people about it. And it's just so difficult to not be able to do that as fast as I want.

I'm trying to be patient and I hope all of you are willing to be patient with me.

In other work…

I will likely continue to plan out my next game on the side, though I don't intend to start working on it or writing it until WSC completes. It's too hard to manage two projects like that - at least for me - most of the time.

When it comes to Thornewood (the most likely contender for 'next project'), it is a 'dark fantasy' in that the setting is gritty and grimy fantasy with an underlying darkness in the world. It's not really a dark romance though.

I always view dark fantasy as including settings where the darkness comes from outside the main character interactions. The setting is dark and the stories have danger and darkness....

But dark romance is when the relationships themselves are also dark. And I feel like I don't really write dark romance. I don't write perfect relationships either but I wouldn't describe them as 'dark' by any stretch.

Either way I'm looking forward to working on something more overtly fantasy again.

I've been dabbling in science fiction for a long time now (since 2019 - that's when I started Gilded Shadows!!) and I've been wanting to move back into fantasy settings for a while now.  

Even just working on the profiles and outlines and world building for fantasy projects, it feels like the Fae and the magic are calling me back home. So I'm really eager to wrap up WSC and bury myself in a more fantasy themed setting again.

But I have a long journey to get to that point.

There's a lot to do in 2025 and I still have a lot of stories to tell.

I hope you will all be here with me for the journey.

[yumeka-sxf]

I try to stay away from negative topics, but after hearing talk on social media yesterday and seeing this post from @such-a-downer, I just had to give my two cents about the complaints regarding yesterday's chapter being "another short mission" and that Endo is somehow being "lazy" or whatever.

I honestly don't understand this mentality of criticizing manga-ka, or any artists really, because they aren't delivering by whatever standards you personally think are appropriate. To me, it just seems like entitlement because Endo has no obligation to cater to any specific fan's wants. This is his story to tell the way he wants, and his characters to develop at the pace he deems fit. This isn't a business contract where we're paying him to deliver content we want every two weeks without fail. If I'm consuming the fruits of someone's creative labor for free, I certainly feel no right to complain if sometimes their content isn't what I wanted or expected. I'm fine with that because 1) I know it's what they (the creator) wanted/needed at the time, and 2) even if a particular chapter wasn't my cup of tea, I know other fellow fans out there somewhere are enjoying the heck out of it, and that's cool!

We also have to remember that SxF is basically a one-man show. If Endo is busy or sick or whatever, it's not like he can have someone fill in for him to write and draw the series. That's what a hiatus is for, that's what making a short chapter instead of a longer one is for...that's how artists should be treated so they don't get burned out and stressed. Plus, art shouldn't be rushed. Any artist knows that there are times when you have trouble coming up with ideas and maybe need a little extra time to develop a more complex section of the story. To immediately jump to conclusions that he's lazy or doesn't know what he's doing is ridiculous. Maybe he didn't feel good for a few days, maybe he's been busy with other SxF events, maybe he just needed more time to get a particular future arc developed, or maybe he just has basic IRL obligations to take care of like we all do...you don't know what's going on in his life, so don't make assumptions.

Another thing to keep in mind is that it's literally impossible to please every fan. One of the comments I read for example, someone was ready to drop the series because we haven't seen much of Yor in "a while." All I could think of was "didn't she just have a pretty big role only four chapters ago when they went to the ski resort?" Plus she was the star of chapter 91, which was less than ten chapters ago. So according to this person's standards, four chapters without seeing a particular character is "too long"? What if it was only three chapters, would that be acceptable? It's not right to push our own personal standards of a series' pacing as the "correct" way: some people want to see more of character X while someone else wants to see more of subplot Y, so should both complain that the manga-ka isn't doing right whenever they focus on something else? I'm not saying you shouldn't make criticisms of a manga-ka's work, but the criticisms should come from within the narrative itself, not superficial things like chapters focusing on subplots/characters you don't want to see or not having enough "plot-advancing" content when it's not a plot-focused series.

People who have read SxF up to this point should know the general flow of the chapters: mostly slice-of-life episodic, with more plot-heavy, intense arcs once in a while, like the cruise arc and bus arc. It's an ensemble series that spends most of its chapters focused on at least one of the Forgers, but occasionally other characters here and there. That's how the series has been for years and will likely continue to be. So if you keep complaining because you only like the dramatic story arcs and not the "nothing happens" episodic chapters, then maybe the series just isn't for you. It's totally fine if that's the case, but don't act like Endo is doing something wrong because he's not providing the particular thing you want in his story.

To summarize, Endo has no obligation to cater to particular fans' standards, just as we have no obligation to keep reading his work if we don't like it. But being a fan to me means respecting the creator's pace and vision even if it's not always what I personally want. I can find something to enjoy in every chapter because I'm a fan of SxF, not a fan of one particular aspect of it. But I also will not complain every time my tastes aren't being catered to and will simply occupy myself with other things while I wait. What's the big hurry, after all? I'm in no rush for SxF to wrap up its plot and I'm glad Endo isn't rushing either.

And that's all I'm gonna say about this topic, lol. On a happier note, I'm going to finally see Code White on Thursday! 😁 More to come later~

[antianakin]

Pong Krell. It’s universally agreed that he deserved worse than what he got and I get that. I just wished we got to see what he was like before he Fell. Did he always hate clones, was it gradual? Did he suspect something off and went over paranoid?

I’ll say this one and I’ll say this probably a thousand more times but I wished the creators focused on more details with characters. It’s absolutely fascinating that they created a Jedi that Fell but did nothing with it besides outright evil.

How other Jedi reacted to learning that a fellow Jedi betrayed everyone? How did the Republic?

I just wished they did more with him than just, yeah that dude was a dick and killed clones.

Yeah, it's one of the things I don't like as much about TCW, the extremely episodic nature of it means that there really is never any build-up to anything or lasting impact from anything. Unless it's happening within one of the 2-4 episode arcs, we RARELY get to see any kind of build-up or fallout. It's one of the major issues with Barriss, too, we see her ONCE in season 2 and she's calm, kind, methodical, and selfless. And then three seasons later in season 5 she's suddenly ruthless, selfish, doubting everything and everyone, merciless, etc. There is NO BUILD UP to that radical 180 to her character and there's no real exploration of how Ahsoka really feels about that particular betrayal afterwards, the focus in later episodes after the Wrong Jedi focuses only on Ahsoka feeling betrayed by the COUNCIL and her feelings about that. Nothing since TCW has ever touched it either (Rebels, Mandalorian, the Ahsoka show). Satine's death never really comes up again after it happens aside from Bo-Katan being an asshole. Obi-Wan goes from being totally fucked up about Maul coming back to being chill enough to take on Maul and Savage alone and winning without us getting to see him actually deal with those emotions.

Pong Krell and the Umbara arc IN GENERAL falls into this category easily (so do the Zyggeria and the Deception arc tbh). Krell is such a basic evil character, there's so little nuance to him and we never get to see the Jedi react to the revelation that one of their own turned at all. Dooku turned after he had already left the Order as far as any of them really know, but Krell was still IN the Order when he decided to betray them and it would've been really interesting to see the impact of that on them. It would've been ESPECIALLY interesting to explore that more during the Wrong Jedi arc in particular in how the Jedi feel like they can't trust their own people not to betray them anymore after Dooku and Krell.

Krell is presented with like. Zero nuance. He is just unequivocally evil and despite Anakin greeting him in a friendly way at the beginning, the visuals tell you this dude's no good right from his first appearance. There isn't really any chance that he's going to be a good guy at all. So all we are left with are headcanons.

And I remember discussing my Krell headcanons somewhere, but I think it might've been on a Discord server I've since left, so I unfortunately cannot find them again. So I'll try to remember them and immortalize them here, I guess.

Here's the thing about Krell. NO ONE suspects him. So he cannot be overtly acting like a bigoted asshole from the jump at any point, he HAS to be acting in such a way that it's not trickling out to the other clones and to the Jedi themselves that Krell is an absolute monster. Even Fives takes a moment to decide that Krell is suspicious and only brings up Krell's casualty numbers after he sees Krell's behavior for a minute and combines that knowledge with what he's now personally experiencing and is starting to come to conclusions based on that. He doesn't go into the relationship thinking Krell is worse than any other Jedi already.

And based on what we know of EVERY OTHER FALLEN JEDI (Dooku, Anakin, Barriss), they didn't start out as monsters. Dooku was a highly respected Jedi Master who seems to have had a really positive relationship with Yoda and Qui-Gon and simply became disillusioned with the Senate and his care for the people of the galaxy got twisted into something darker over time. Barriss was kind, selfless, compassionate, brave, and resourceful, and it was the war that caused her to start letting her fears and pain consume her into turning on the Jedi. Anakin was kind and spent years having his fears and doubts twisted into selfishness and greed and darkness that allowed him to justify murder and genocide for power. So it wouldn't make sense to me that Pong Krell wouldn't fall into the same pattern where he was once kind and good and selfless and brave, but that the circumstances surrounding the war caused him to lose faith and fall.

My headcanon is that he lost an entire battalion early in the war, much like we see happen to Plo Koon during the Malevolence arc and that that loss and failure just BROKE him. Krell DID care about the clones, he cared about his men, and he FAILED them all. And I think that he saw all of these clones dying by the dozens in all of the other battalions and instead of choosing to let go of his pain and fear and lean into his compassion, he chose to distance himself from them entirely to make it hurt less. If he didn't care about the clones, if he just saw them as the cannon fodder that the Senate treated them all as, then it would hurt less when they died. Maybe the Senate itself even dragged him over the coals for that initial loss. Or perhaps it was the opposite, maybe most of his battalion was killed, but it ultimately ended in a victory anyway because they were forced to just keep going despite the consequences. And so Krell decides to enter this mindset where he is disillusioned with the Senate and just CANNOT allow himself to care about the clones, because it won't change what the Senate is going to do to them anyway, so he may as well just treat them the same way.

And this wouldn't have happened overnight. It wouldn't have been a sudden 180 where he decided he was just going to treat them like shit. But he maybe decided to put some more professional distance between himself and his new battalion, not get close to them, not use their names (although he still knows them, still remembers them all). Maybe one day they're in a tricky situation and all of his options are bad, he HAS to sacrifice some of his men in order to salvage the situation at all, and it's a choice between a full retreat that he KNOWS the Senate won't take well, or sacrificing the men to achieve the victory. So he sacrifices the men. It's not an entire battalion, it's not even a whole company, but it's more than it would've been if he'd retreated. Maybe next time, there's a choice between going back to save some of the men even if it poses a risk to his own life or the mission or something, and he chooses not to go back for them because the mission is more important, or he rationalizes that his life is more important as the Jedi General. And it's just more and more little decisions like that that add up over time to being able to see the clones as nothing more than tools.

The disillusionment with the Senate leads to him sort-of agreeing with things Dooku and the Separatists have said and he can look at the war and realize that it's entirely possible that the Republic is going to LOSE, and he CANNOT be the one who loses again, so maybe he starts bouncing around the concept of maybe switching sides. And of course initially he rejects the idea. He's a Jedi, he won't just abandon the Republic, he can't be a traitor, who in the Separatist side would ever trust him anyway. But once that seed is planted, it doesn't go away and it keeps coming back up and he keeps finding ways to rationalize why it might be a good idea and then deciding not to do it over and over again. Until one day, he can't convince himself that it's a bad idea or that it wouldn't work. He tells himself it's the ONLY option, if he doesn't change sides then he's dead. But Dooku WON'T trust him unless he can prove that he's not on the Republic's side, so he has to come up with a plan to gain their trust. And what better way to earn that trust than to ensure a Separatist victory in an important campaign by double-crossing the Republic.

And once he's chosen to go down that path, it's even EASIER to stop caring about the clones because, well, they're all dead anyway. The Republic is going to lose, the clones are all dead men walking no matter what, so why bother caring about them or trying to keep them alive? He can't lose so often that the Jedi or the Senate become suspicious of him, of course, but it's REALLY easy then to get to Umbara and treat the clones like crap and turn them against each other and intentionally try to get them all killed. They're dead anyway, he's not the one killing them really, is he, the Senate is, the Jedi are, the war is. They were dead from the moment they were created in that test tube because they were created for this specific purpose. It's not his fault.

And much like Barriss turns against the Jedi in part because she did LOVE the Jedi and was devastated by what she saw happening to them and the pain of seeing her people forced to become something they were never supposed to be, as much as her actions were intended as some kind of message to try to sort-of save the Jedi from a course of action she saw as their downfall, I think that Krell turns on the clones because at some point he DID care about them. A lot. And that care became his downfall, the pain at what was being done to them just absolutely gutted him and it threw him down a path that ultimately led him to turn against the very people whose deaths had hurt him so badly just a few short years ago.

Krell might not have been the most effusive or emotional person prior to the war or anything, he might've been a more reserved person similar to Mace or Dooku or Luminara, but I think he probably was a perfectly good Jedi who was kind and selfless and compassionate once upon a time.

And none of the headcanons above have even touched what his relationships with other JEDI must have been like. It's just as possible that he did have friends and people he considered family among the Jedi. Maybe he had a padawan once at some point. And maybe all of those people had died by the time we get to Umbara. Maybe he had to watch a lot of the people he was closest to just fall like flies, and so it starts feeling like nothing matters. Maybe one of the Jedi who died on Geonosis was a former padawan of his, but Krell himself obviously wasn't there and the pain of THAT loss and the guilt he feels at not having been there (even though this padawan had been knighted for a while and there was a good reason Krell wasn't there that day) just sticks with him, too, and he never quite manages to let that go, either.

I think a lot of people choose to just headcanon Krell as having just always been kind-of an asshole even when he was a Jedi, but that doesn't work for me. If Krell was always an asshole, I feel like the Jedi would've stepped in at some point before the war even HAPPENED and tried to manage that situation. And it doesn't match up with the way pretty much every other fallen Jedi has ever been written, where they were GOOD PEOPLE once upon a time who saw awful things happen that they couldn't stop or had an awful thing happen TO them that they couldn't stop and the pain of that experience consumes them to the point that they spiral into darkness as a result. Krell should be the same way, which means he likely was a perfectly good normal Jedi before the war. He would've been kind, he might've been good with younglings (he's tall, maybe he was the one the younglings went to all the time for piggy back rides, maybe he often taught dual wielding to padawans who asked because of how clearly proficient he is at it), he might've taught a student of his own successfully, he would've been wise and selfless and compassionate, he would've loved the Jedi and the people of the galaxy.

Like, to be frank, if Tales of the Jedi HAD to explore a fallen Jedi story, they should've explored Krell instead of Dooku. Dooku has been explored before, we know quite a lot about him and his motivations and his backstory, but Krell, as you noted, is left a mystery and is stuck in the realm of being just purely evil for the sake of the story they were telling in this one arc. Krell needed more nuance in a way Dooku just did not.

[antiphilosophia]

Crowley's pre-fall name is BARAQIEL (THEORY)

THIS POST MAY CONTAIN SPOILERS OR RATHER CLUES FOR GOOD OMENS SEASON 2 CONTENTS, PROCEED WITH CAUTION 🤍

Very well. Who doesn't love the Crowley is the Archangel Raphael theory (I am certainly of those people who do). During my first watch of Good Omens S2 I was even somehow almost confident that that was the case.

However, my second, more careful, viewing of this lovely (but equally heartbreaking) season made me change my mind, likely for good. In episode 4, Furfur's book "Demon's Guide To Angelic Beings Who Walk The Earth" shows us a name of a certain angel Baraqiel. (see photo below) Knowing Good Omens that can hardly be a coincidence.

Unfortunately, the very text is quite unreadable. One thing, other than the name, which is pretty clear is the subheading "Angel of the Sky" and since the episode 1 lets us take a look at how Crowley did indeed take part in creation of what is to be seen in the night sky, one can hardly find that entirely non-fitting. One other sentence I was (at least I think) able to read is "Often draped in red."

(On a different note but certainly worth noticing are scribbles that generally just roast Crowley ��� his suspiciousness, hair and name (though I am not absolutely sure of the latter) "His hair is bad!" Wow, Furfur really does hate Crowley.)

Then there is something written above the name of Baraqiel, unfortunately in none of the picture frames does it get a bit readable. I wonder though, couldn't it be "former"? Since it comes precisely after mention of Crowley to whom should one report on Aziraphale.

Crowley is very powerful. Dominion

A word that is not exactly readable but can be deduced from its placement (it is situated just as Aziraphale's "Principality") is Baraqiel's rank – Dominion Angel. It should be noted here that I very much lack proper knowledge of either Jewish or Christian mythology and I would hate to provide any incorrect claims. I therefore think it is better for me not to overly state things, even more so since everyone can look into it on their own and figure out what that might mean for our beloved demon. What I will say, however, is that they are (as I understand it) very powerful and, placed within the 2nd triad in the angel hierarchy, ranked higher than the Archangels. This would go well along with the emphasis that was in my opinion laid on Crowley's powers quite a lot this season.

For example: "A miracle of enormous power happened last night. The kind of miracle only the mightiest of archangels could've performed," said Shax to Crowley, to which he replied: "How'd you know I didn't do it?" He didn't get an answer.

What I think (and I may be very wrong, obviously) is that a miracle of this vastness wouldn't have happened simply because of a regular angel and a regular demon did together half a miracle each. What is also worth noticing is that the tool with which Crowley created the Nebula is the same as the one he used to temporarily stop time at the end of season 1 right before Satan's arrival. So much to the size of his powers.

Baraqiel, lightning of God. Fallen angel

Finally, to Baraqiel himself. My lack of knowledge concerning this matter still stands and frankly I don't even know where to find valid information about angels and such on the internet. Baraqiel should, however, stand for "lightning of God" and is also regarded as the angel of lightning. In season 2 there are (as far as I remember) two occasions where Crowley is put in correlation with lightning. (1) His poor anger management issues in episode 1 and (2) his not at all better matchmaking in episode 3 ("I haven't done weather in ages"). Furthermore, Baraqiel is considered to be the one who taught astrology to people. Nevertheless, what points to Crowley and Baraqiel being one even more is that Baraqiel is indeed a fallen angel.

•

So... That is probably it. I usually tent to theorize about stuff in quiet, in fact, this is the first time I've used Tumblr for anything other than reading Neil Gaiman's posts. I didn't even think that I would actually post it but then I've searched on Twitter, TikTok and here on Tumblr if anyone else has already come up with this theory. The only post I could find (hopefully I haven't missed anything) was by @valaza_04 on Twitter (click here) where they refer to the same frame shot as I do here.

Now I know, we are still recovering from heartbreaking (but if you ask me, absolutely amazing) finale and the main thing currently on our minds is figuring out why would Aziraphale choose as he did and the many wonderful theories that come with it. However, considering the utterly virulent look that Metatron shot at Crowley before walking out of the bookshop with Aziraphale and also his "Well, [Crowley] always did want to go his own way. Always asking damn fool questions, too." makes me think that he absolutely does not care for Crowley and whichever angel he was before the Fall. And I reckon it won't remain unnoticed in season 3 and might even be really important (or that is just me wishing for more pre-fall Crowley scenes). Hence I decided that I will post this. And it doesn't matter if no one will see this in the end, it was quite fun to write. However, if there is someone who will read this all the way through, I hope they will accept my apology for the mistakes I have most possibly made (English is not my first language) and also for the ridiculous length this post has come to gather. It turns out, I am just as chatty of a writer as I am speaker.

Well maybe I will come around to write one more post about this theory, only with a proper research this time. Till then thank you and, please, support this season by streaming as much as you can so we can have season 3 of this masterpiece of a show. And be kind to those bringing it to us in your comments regarding the ending, even though it is very frustrating and heart-shattering, it is also maybe the best ending we could have hoped for with the prospects of season 3.

Thank you for letting me talk my heart out, Tumblr.

[sillyfudgemonkeys]

First meetings

Setting: Modern day Korra, everyone pulled out of their timelines.

Korra: So I was wondering. What was everyone's first time contacting their past self like! Wan: Oh this is gonna be good. Kyoshi and Yangchen: *grimacing* Kuruk, looking at Kyoshi nervously: Uhhhh sure. Aang: Sure I'm down! Let's go in order! Korra first! Korra: What?! Oh ok! So like, I thought I lost almost all of my bending, and then at my lowest point you came in and helped get my bending back Aang! Aang: Oh sweet! Korra: Hell yeah, really came in clutch! Aang: Ok I'm next. Roku's animal guide told me where to go meet him, so we had to sneak into the Fire Nation to talk to him. Got a bit dicey, but he gave us some incredible advice that we needed! Roku: Awesome! Glad I could help-wait what do you mean "Sneak into the Fire Naiton?" Aang: Don't worry about it. It's your turn! Roku: Oh um, so like. Sozin and I were in the middle of a cave in, partially caused by me. I thought I was dead, and thought my role was to just be a placeholder Avatar. But Kyoshi gave me a pep talk that amounted to "It's not your fault. Quit bringing yourself down, and look within you to harness the power you need." And she was right. Kyoshi, trying to be positive but sounding dejected: Wow, I was right about one thing for once..... Roku: Ummm, what was your experience like Kyoshi? Kyoshi: ................... Kuruk: Haha c'mon, I wasn't that bad- Kyoshi: I can't really say the first time amounted to much, it was choppy. Subsequent attempts left me paralyzed with seizures. Kuruk: ....O_O Huh? Kyoshi: It's because I didn't want to touch you with a ten foot poll. I was able to reach you eventually- Kuruk: Oh that's good! How- Kyoshi: By drowning myself. Everyone: ...............................dude. Kuruk: Did you really have to do that- Kyoshi: I was desperate. It was either I attempt to contact you that way, or I was gonna die and beat your ass on the other side. Either way was a win in my book. Kuruk: ................................did.....did I do something wrong- Kyoshi, grimacing in physical pain: No.....just.....just leave it, ok? Wan: What was it like for you Kuruk? Kuruk: It....it was.... normal? Wan: Oh well.....that's....nice? Korra: Ok well....Yangchen? Your turn! Yangchen: Do I really have to? Korra: Yes. Yangchen: I don't really remember. Korra: What do you mean- Yangchen: Korra, it was probably one of my many dissociative episodes, usually happened when I slept. Spirits knows when I first contacted Szeto. Tbh I was probably 5 years old and unconscious living out one of his memories. Like I did with most of my past lives. Korra: Holy shit. Yangchen: It got so bad that me and the nuns had to develop techniques for when I wake up so I could feel.....grounded again. Wan: Ok, but like why are all the girls' like.....all traumatic. Raava, get us a girlie that's not suffering. TT0TT

[whoiskt]

Severance Episode 1 Thoughts

These are going to be scattered questions that I'm pondering.

Is Helly lying or telling the truth?

When she says she woke up in a "boring ass apartment" and found a night gardener, she is either telling the truth, meaning her memory has been altered, or she's lying, in which case leads to another question.

2. Has Helly been replaced with Helena?

Either innie Helly is lying because she doesn't want to reveal her status as an outie (she doesn't have much motive to do this, unless she's worried about the consequences telling the team might have) or she is not an innie anymore, and is just outie Helena coming down and "playing" Helly. This is supported by the photoshopped image of the team in a motorcade with outie Helena--this simply would not happen, there is no reason for an Eagan to sabotage their own company like that. If she really did flip to being anti-severance procedure, there's no way she'd ever return, but as we've already seen, outie Helena is extremely apathetic to innies so there's little chance she would have changed her mind on this. "Helly" pointed out there's no more cameras, and restating that there's no more microphones--they aren't needed anymore because she is a spy. She wants the others to speak openly so she can get their secrets herself.

3. Why did Irving come back?

To me it's perfectly understandable that Mark came back (although more on that later) because he'd want to seek out his dead wife, Ms. Casey. Although we don't know much about outie Dylan, it's understandable he'd come back because he might not even realize his own involvement in what happened. If anything, he would have been fired. But Irving, who spends all the first episode trying to leave, would be super aware of his involvement, and thus his innie's unhappiness. To me, this just confirms my season 1 theory that Irving's outie has purposefully become a severed employee to do his own investigation into Lumon. Although, the fact innie Irving doesn't recognize the testing floor is interesting, I thought outie Irving was meditating on that image because it's leaked through from innie Irving's subconscious, but instead it seems like outie Irving is trying to get innie Irv to remember it, so that he will investigate it down there.

4. Is outie Mark dead?

I suspected this when he went up the elevator and immediately came back down, but I thought that could be an editing/stylistic choice. However, the last time things faded to black. This is heavily implying that he's not going anywhere else. The next episode seems to be about outie Mark, which might imply that he's alive, but it also could be a flashback episode. He also might not be dead, but might not exactly be a free man either. Either way, it's super suspect, and I wouldn't put it above Lumon to kill outie Mark as a coverup, or even for Mark to kill himself, sadly.

5. How long has it REALLY been? Why now?

Even Mark is questioning the "5 months" number he was given, but there was probably a time skip of some length. This gives time for Lumon to spin the story both inside and outside. We have almost no information on the outside, but on the inside it's clear that they had to at least pretend to make some changes. If Helena is pretending to be her innie, she probably needed time practice that, but if she really did have 5 months, then how come she couldn't have come up with a better lie than running into a "night gardener"? If anything, I'm guessing it has been shorter than 5 months, rather than longer. I think they want to pretend there was a period of massive reforms, when there has not been any yet.

Furthermore, there's the idea that Lumon doesn't fully understand what occurred during the overtime contingency. Helly's stunt was very public, but it also was an event that seemed to be mostly attended by pro-severance people who aren't so worried about the morals and ethics of it all. Containing that situation seems well within the realm of possibility. So getting the four of them back as soon as possible would be beneficial to doing damage control in regards to what Mark and Irving did.

6. Why is there a child working at Lumon?

Mark W. mentions that his branch shut down. This coupled with Huang's employment could imply that Lumon is doing so poorly perception-wise, that no one wants to work for them anymore, leaving them to take who they can get--even if that means hiring a child. This, and a child could be more easily groomed into the cult that is Lumon. Perhaps Mr. Milchick started young too, which could explain his oddities. Only people born and raised in the Kier cult get to be in positions of power at Lumon.

[ennn]

Thinking back to episode 1, where Agatha/Agnes clearly remembers losing Nicky (e.g. the bedroom scene), but doesn't remember why she hates Rio - even though those two things are so intertwined. Why do you think that is?

Hi Anon, thank you for the ask, and for the interesting observation + question!

I can think of 2 possible (Watsonian) reasons why Agent Rio Vidal isn't connected to Detective Agnes' lost son within the spell — and both can be true at the same time:

Rio popping up was unexpected and the spell — already distorted and stretched as it was — simply didn't have time or the juice to adapt this new character into its current storyline and setting.

It's possible that if things dragged on the spell could have made Agent Vidal somehow responsible for spell!Nicky's demise: What a delicious plot development that'd be for our small-town murder mystery prestige crime genre show!

Agatha does't want to remember why she hates Rio, as evidenced by Rio's follow-up comment: "You're only lying to yourself."

We know that the spell is being influenced by Agatha and what she believes about herself ("Is this really how you see yourself?").

E.g. Detective Agnes reflects how Agatha sees herself as a skilled investigator but also her belief and interest in the darker sides of human nature. Agnes' sad social life also reflects Agatha's own loneliness ("a lady cop cannot be good at her job and have a healthy personal life at the same time").

But I think the spell is also influenced by what Agatha wants to believe. Agnes here, as abrasive as she is, is still part of the community. People turn to her as a trusted expert. She's not shunned or hated the same way Agatha is.

And while Agatha has accepted that Nicky's dead and gone, she's struggling with the need to assign blame or reason for it. She ends up blaming Rio and herself.

And I think on the subconscious level that the spell pulls from, Agatha simply doesn't want to blame Rio.

She still has love and all these feelings for Rio but instead of dealing with what happened with Nicky — with how sometimes death and loss just happens beyond one's control no matter how much we love or how deserved it is — she prefers to run, to lie to herself (she's such a good liar).

It's this same reason why in episode 4, despite all evidence and reason pointing out that Billy isn't Nicky, Agatha embraces Rio and tries to kiss her. Don't get me wrong, Rio's truthful campfire confession definitely played a part too, but I think Agatha's an awfully good liar.

[calliecat93]

Balance of Terror is probably, up to that point, Kirk in his most perilous situation. It is full battle mode where if he makes so much as one wrong move, he risks death. Not too mention potential war against an enemy that he knows little to nothing about. Thus, for the vast majority of the episode, we have Kirk in Full On Captain Mode... except for one scene.

It's been hours now since the battle against the Romulans has started. At this moment, the Enterprise is a sitting duck and all that they can do is wait. Which gives Kirk plenty of time with his thoughts and in turn, his doubts. Doubts that he cannot let anyone see under any circumstances. Even when Rand, his personal Yeoman who has seen him at his best and worst, comes to see if he needs anything, the mask stays put. There's no point in bombarding her with what he's feeling internally and freak her out. That's not a luxury that he's allowed.

Well... save for one person.

As soon as McCoy walks in and Rand leaves? Kirk is noticeably more at ease. You can even see Rand realize it and leave, allowing McCoy to help the Captain when she clearly isn't going to get anywhere.

It's only then that Kirk feels comfortable talking and letting his doubts be visible. It's the one vulnerable moment that he lets show in the episode, feeling the pressure as his men to look at him and the fear of what happens if he's wrong. If you think back to The Corbomite Manuver we had a similar moment where McCoy tried to talk to Kirk, but while Kirk was at more ease, he didn't want to hear it nor did he let himself really open up. He doesn't even use Bones then, which sure it's probably because they hadn't thought of the nickname yet, but in-show you can interpret it as Kirk remaining in professional mode even to the guy who has it in his job description to see to his mental health.

Not that McCoy is there just because it's his job, of course.

From what we can tell, McCoy went to Kirk on his own volition. He wasn't called or anything, he went to go make sure that Kirk was doing okay. He's been in Sickbay for the majority of the episode and hasn't exactly been able to make time to go check on the Bridge Crew, especially not Jim. Now that he can, he's just there to let Kirk air out whatever he's been bubbling in for so many hours , as he always does.

But Kirk doesn't need McCoy, his Chief Medical Officer and essentially therapist, right now. And he clearly needs more than a soundboard to vent his feelings to. What Jim needs is Bones, his best friend and confidant. You even have McCoy, once Kirk's done talking, start to go 'Captain I-" before he's cut off, still somewhat in that professional mode (maybe even remembering the last time he spoke out of line in a tense situation ala The Corbomite Manuever). That's not what's needed. Kirk didn't expect an answer, but McCoy stops him. He outright says that he normally doesn't talk to 'a customer' like he is now, which goes to show how much he views Jim as far more than a patient or as the captain of the ship. Kirk is, first and foremost, his friend, and he needs some kind of reassurance right then and there.

And that's exactly what he gives.

MCCOY: But I've got one. Something I seldom say to a customer, Jim. In this galaxy, there's a mathematical probability of three million Earth-type planets. And in all of the universe, three million million galaxies like this. And in all of that, and perhaps more, only one of each of us. Don't destroy the one named Kirk.

Just that bit of assurance and Kirk is good to go. And I think he needed it from Bones specifically. Bones, the one person that Kirk can really be himself around. The one person who he's allowed to be vulnerable around. The one person who has always been there to ease him and help him process his feelings, as we've seen already in episodes like The Enemy Within. And even with McCoy worried himself, even having voiced concern about the gamble that Jim is taking earlier in the episode, he still trusts him and has faith in him. And unlike The Corobomite Manuever where he provoked an argument and had his priorities skewed, McCoy knows what Kirk does and doesn't need right now, and he delivers.

IDK, I just love these two so much and I need to voice it for the world cause dang it, someone has to!

[igglemouse]

I wake up feeling different, as if there is a new purpose humming within me. It's barely there, I admit, but I do know it wasn't there before. Maybe it's because for the first time I felt welcome? Sure, sure, SUUUUURE, it was by a vampire, an actual blood sucking leech on two legs but...I was feeling welcome for the first time in a long time. That I could be part of something or rather part of whatever they have planned. I'm not sure what I'm stepping into, or rather if I'm stepping into anything at all.

Whatever the day decides to throw my way brownies shall help me prepare for it. At least that's what I'm telling myself. I'm a bit delusional, as you can tell, just let me have my delusions?

So I do the usual, clean my floors and myself and end up watching TV any ways which is a box full of delusions. Just trying to pass time I guess, I don't know. Honestly, what even is my life?

Well, it's Friday, so something has to happen. Things usually happen on Friday's, right?

And I was right, something DOES happen A knock at the door and on the other side some random guy. A handsome random guy, I should add, calling himself 'Niklas Krausser'. It's a name I'm sure to remember because it belongs to a man ridiculously hot. Tall, well defined features, and a bit of a presence to him. Hard to explain. There is a sense of magic to him, I know that at once. As they say, it takes one to know one.

"And what brings you to my door, Niklas?" I ask, pretending to be casual despite this unexpected twist to my day.

"I've heard a lot about you," his reply has a smoothness to it. "But..."

"But?"

"There's not much magic to you after all," he continues and now I think he's sizing me up. I should be worried, after all, there are people out there who would like me dead but I'm guessing if that was his intention I would be already. "There's a flicker there, faint....barely noticeable at all."

"Sorry to disappoint," I feel a little stung and a need to defend myself. "I've been excluded from the super secret magic club all of my life so you can't blame me."

"Heh, fair enough," he says with a chuckle. "If its any consolation you're not missing out on much," his eyes linger on me a little longer and I'm starting to realize he's not sizing me up for my magical abilities. "May I?" he asks with a tilt of his head.

Ladies, it's not wise to let strange men into your home but my life needs a little spice so why not?

Mr. Krausser settles himself comfortably on the couch in my very plain and lame living room. He doesn't fit here. The bare walls and cheap furniture make him stand out a little more than he should. He lounges as if he's a king, full of confidence, talking about the weather and local news at first before we get into what he's likely really here for. Magic.

"You should know, magic is quite overrated," he says waving his hand as if to emphasize this point.

I'm blinking, confused, because, "How can magic be overrated?"

"Don't be silly, Gracelyn, it's all a bit shallow, isn't it?"

And now I'm crossing my arms, demanding more of an explanation. "Shallow? Some can bend reality with, can't they?"

He shrugs because this is an argument I'm sure he's heard before. "But should we allow others to bend reality? Is it truly worth it?"

"Yeaaa...." I'm not a big fan of philosophy.

"Most of us," he continues. "About 99% actually, can't do much. Determine the flip of a coin or your typical parlor tricks," again a hand wave, he makes it all seem rather boring.

"Yes but, a coin flip could change the future? Butterfly effect?" he's not moving, another shrug of those shoulders of his. "You could at least use it for better, clean up big with it, walk out a winner."

"Yes, sure, I guess," he's not at all convinced. "Remember, the realm frowns upon such things, so what is it really useful for?" He smirks, thinking I am defeated and perhaps I am. I'm no expert on magic after all.

He's right. The Realm has strict rules that apply, ironically, all outside of the realm, from what I understand. A spellcaster cannot use magic to manipulate others or alter the world in their favor in any way. You'd be in a world of trouble for making yourself rich as the wealth brings you power and your punishment? Let's just not talk about the punishments.

"So then, why are you here?" I narrow my eyes at him, trying to draw out his purpose. "To deter me from wanting to learn it because-"

"Actually, I have no idea why I'm here!" he says throwing up his hands and looking truly perplexed.

"What?" Okay, that catches me off guard? I was expecting some serious conversation, you know, another warning. 'Don't pick up any magical books you little witch or else!' but instead I just get some clueless but clean cut nice looking guy dropping by for no reason at all? I can't help but to start laughing. "Okay, what is this about?"

He takes a long and dramatic sigh and stands, dusting himself off and then heads right for the door as if he had accomplished his goal but he doesn't get too far before I stop him.

"Look, umm, Gracelyn, this might be a mistake," he tells me, suddenly lacking the confidence that he walked in here with. "Which is wrong, mistakes don't happen, not with me, I've been led wrong before but-"

"Buuuut? But what?" I interrupt, close enough to deny him exit because now my curiosity wants to keep him here so that I can get a little more out of him. "What is this about?"

"I-it's destiny, you know? Fate?" there is an earnest energy to his voice now, his tone telling me that whatever he's going on about he truly believes it. I'm just not sure what he's talking about. "Do you believe in that? Believe in fate?"

"Maybe," I hesitate, what else am I to say. This is the same guy who said magic was overrated not that long ago and now he's asking me to believe in it? "It could be some kind of magic, right? What is this about?"

"It's my watch, Gracelyn," he holds it up for a second, lightly tapping the glass of its face. "It leads me, guides me, to....well, fate, I guess. I've been following it all of my life and wherever it points, I go, especially when I'm lost and well...here I am, at this house, with you."

"O-oh..." well if this is a pick-up line it's rather creative. I'm a little thrown off though, trying to process it. Magic is real, of course it is, who am I to deny it? Yet if what he's saying is true... "So, let me get this straight, your watch led you to me or-"

"Or it's led me to this house," he says quietly, seemingly as confused to his purpose as I am. "Which I guess is possible but..." he lets that thought hang, rubs the back of his neck and takes a deep breath. "I need to go, I guess I'll figure it out later, huh? Like I said, magic is soo overrated."

But after he left I found myself staring at the door. He's right. There was magic in that watch, definitely, I could feel it. Even if it was just a hint, it was there and he was her. I'm not sure what that means, maybe it means nothing at all, or maybe I'm just a hopeless romantic dreaming that I'm living in a fairytale and I've met my prince charming...

Faba stood before her fires, losing herself amongst the dancing flames, letting their light reveal snatches of the world beyond. The flue flames cackling and spitting, telling her of what was to come, telling her that the world was changing. Not only the one she once called home, but all of the worlds, every where.

The balance was shifting and it was impossible to tell which way it was shifting. Good? Bad? That's all a matter of perspective, isn't it? Change was neither but it was always inevitable.

In this case, her focus was on the girl called Gracelyn. Faba had been tasked with watching her for some time as she was exiled due to the punishment of her parents. Innocence, caught in the wrongdoings of another, she knew the story all too well, but Faba wasn't interested in Gracelyn's past, it was her future. Her potential a flame waiting to ignite, but who would spark the match?

"So, did it work?" Simeon asked, fixed on the mirror above the fireplace and on both of their reflections. To him, the fire didn't have magic, he never quite understood what Faba saw in it but he was no seer. She could read it as if it were a book.

"Maybe," she mumbles, still lost in its tales. "Time will tell."

"Faba..." Simeon's voice was low in warning. "A lot is riding on this, everything is riding on this, will the two pair?" He didn't need to speak their names, no, there was power in names and when one speaks yours they tie your destiny to you and he wanted to keep Gracelyn's fate far from his own. At least for now.

According to Faba, Gracelyn had several possible futures and according to her she was doing all she could to nudge her down the most preferable one. Like some twisted fairytale she had manipulated Niklas' watch, speeding up time, speeding up his fate. He was meant to meet her, Faba did see that, but it was a little later in her life, not now. Niklas was a protege of Simeon, a promising one at that, she just hoped this would be best for the both of them.

"Well?" Simeon asked, desperate. His plan was simple but...

"Time isn't linear, Simeon, you know that," she said, not turning to look back at him because she thought this plan was rash and foolish. "They have met, that much I know. What happens now I cannot say."

Episode List - Next

[genericpuff]

The Mishandling of LO's S3 Midseason Hiatus - Part 1

So Lore Olympus' return is right around the corner, and I realize I've never actually talked about the S3 midseason finale. I think I said I was going to, but then I just sorta didn't, probably because I was still reeling in the absolute absurdity of it for weeks afterwards. In hindsight, I should have written about it back when it was still fresh, but I feel like I can do it just as much - if not more - justice writing about them in hindsight, now that they've had time to sit and I've seen what Rachel and WT are clearly planning to do after the comic ends (whether or not they succeed... that's a different story).

CAUTION: THIS IS PART 1 OF A 3 PART SERIES IN WHICH I WILL BE SPOILING MUCH OF EPISODES 251-253. THIS EPISODE CONTAINS DEPICTIONS OF VIOLENCE INVOLVING STRANGULATION. THIS WILL BE A LONG POST. BRACE YOURSELF.

So one of the things that really motivated me to finally talk about this was a conversation that happened recently in the ULO Discord - the realization that there are many readers who still don't know what happened after the free to read finale cliffhanger.

Y'know, the one where Hades gets possessed by Kronos and attempts to choke Persephone-

Now, awful dark jokes aside about how Persephone frankly deserves to have her balloon head popped, this was a wild cliffhanger to leave on for free readers, but the strange thing this time around - unlike with the previous midseason hiatus - is that this is where the cliffhanger has stood for free readers for the past 3 months, and it will be 4 months by the time the series returns.

And frankly... this just highlights a huge problem with LO's writing, because this cliffhanger? Like all the others, it's literally resolved within the next episode. The one that's currently under the FP lock.

Man, isn't it a little fucked up that we only ever get trigger warnings when it's concerning Persephone? Where was the warning for when Minthe got turned into a plant? Where was the warning for the entire episode that depicted Hera's trauma from Kronos and how it's still affecting her in the present? It's always either the Persephone, Hades, or Apollo focused episodes that get the trigger warnings, they couldn't care less about the violence being done onto other people in the story.

Anyways. Episode 251 opens up by reminding us, oh yeah, Kassandra exists!

Remember back in Episode 227 when Psyche stole Apollo's USB drive (and by "stole", I mean she picked it up off the ground where Apollo had conveniently dropped it?) And they found a folder with a picture of Kassandra? Well, Episode 251 opens by reminding us of her... 24 episodes later. SEVEN MONTHS OF REAL LIFE TIME, LITERALLY THE LENGTH OF BOTH THE SEASON 2 AND SEASON 3 MIDSEASON HIATUSES COMBINED-

Anyways, I guess Rachel finally figured out what she was gonna do with Kassandra after all that time, and it's... really stupid.

But wait, don't worry about that yet, because only the comic's opening reminds us of Kassandra, we gotta establish the title first and get back to that cliffhanger from before, the one that free to read users have been waiting 4 months to see.

(pay attention to the episode titles here btw, it's probably one of Rachel's lamest 3 parter title sequences yet)

Turns out Kronos is still intent on getting his hands on Hera, even though we've literally already seen Kronos haunting Hera. Is he just a ghost? A hallucination of her traumatized mind? We don't know, it never really explains itself. So Kronos is still looking for Hera.

(kinda weird that we're getting all these redrawn fullbody angles of Hades-possessed-by-Kronos choking his noodle-bodied wife who is doing literally NOTHING to actually fight back besides yelling at him, but okay.)

Turns out Hades isn't really hyped about this choking game going on between his dad and his niece wife, so he goes full on "release the beast" Naruto mode on his ass.

And that's it. That's literally the conflict resolved. The cliffhanger that free to read users were left with over the 4 month hiatus is resolved literally within a handful of panels and Hades just "believing enough" to save his wife.

And then that's just it, it cuts away, and we get this sorta awkward conversation between Persephone and Hades (now himself again) over the fact that he just choked out his wife.

The scene transitions to Hades waking up in his bed (literally that last shot of him and Persephone was it, it transitions immediately). I'm trying not to use up Tumblr's 30 image posting limit so I'm not posting the 3 fucking copy pasted panels of this that just involves Hades waking up, use your imagination lmao

There's literally no actual conversation here, no amount of Hades asking "what happened", somehow despite his possessed state he remembers everything so succinctly that he jumps right to demanding Persephone to see her neck.

(literally removed the panel of Persephone saying "Hades..." because these types of "let me do the thing" "Hades :(((" "let me do the thing" exchanges are literally just Rachel trying to hit her panel limit, once you start seeing these '3 panel' exchanges that copy paste the same shit over and over again, you can't unsee them and you realize this is why so little happens in the comic as a whole, because it's just constant repetition of dialogue and reaction panels to pad out the episodes).

And then we get what I like to call "guy in a position of power manipulating his more vulnerable partner into pitying him without actually apologizing":

No for real, I didn't cut out a single thing from this exchange aside from a couple copy pasted reaction panels, this is the entire conversation. Hades doesn't apologize, he doesn't ask Persephone if she's okay, he just pulls the "you can leave if you want toooo :(((" baiting Persephone into further trapping herself with this jackass. SHE'S the one who's stuck with HIM.

Like, obviously Hades wasn't the one who choked her, that goes to Kronos, but he doesn't even ask her if she's okay. He just looks at her moldy ass bruises and immediately goes "YOU CAN LEAVE IF YOU WANT TO I'M A MONSTER OH GOD-" and then of course she's having to comfort him which is fine but where's the balance? It's always Persephone having to comfort him and listen to his trauma and we never get Hades doing the same for her - the times we do get Persephone talking about her trauma and struggles with him, he always finds a way to make it about him.

Hades proceeds to talk more about his childhood and more of the shit he's already talked about multiple times before, I don't even need to go over it at this point.

That said, Rachel does remember to bring his stutter back. When's the last time he stuttered? 200 episodes ago ?? (literally I don't remember, it's like when he used to twist his napkins, he doesn't have these character traits consistently anymore).

THERE we go, finally some semblance of an apology. It came after more trauma dumping, but at least it's something-

Oh for fuck's sakes.

This is literally such generic "you've come so far!" motivational jargon. And it's made even worse in LO because what has Hades overcome exactly? Just a reminder, here are the things we've seen in Hades' backstory since he was rescued by his brothers:

He started a business in the Underworld that he's been operating with slave labor and profiting off ever since as a tyrannical oligarch

He entered a multi-century-long affair with his brother's wife, his own sister in law

He cost Demeter - Persephone's own mother - the role of Queen of the Mortal Realm and Persephone still does not know this.

He abused and neglected his adopted son - who was literally abandoned on his doorstep - for hundreds of years and used his role as his adopted father to guilt trip his son for getting "special treatment".

He never took responsibility for the financially dependent relationship he created between himself and a lower class nymph and tried to bribe her out of his life as soon as he fell for a 19 year old intern

HE LITERALLY FELL FOR THE 19 YEAR OLD DAUGHTER OF A WOMAN WHO HE HAD SCREWED OVER AND PRETENDED LIKE THAT WOMAN WAS IN THE WRONG FOR NOT APPROACHING HIM DURING THE EVENTS OF THE ACT OF WRATH, AND THEN HE HAD THE GALL TO PROPOSE TO HER DAUGHTER RIGHT IN FRONT OF HER WHEN SHE BASICALLY HAD NO OTHER CHOICE BUT TO SAY YES.

Everything he's legitimately had to overcome involving his trauma has gone completely ignored until pop in comes the pink cinnamon roll girl to solve all his problems and do for him what apparently even a therapist couldn't do (because haha he thinks his therapist is a hack.)

Persephone saying "look at all you've done" should be a reminder of all the crimes Hades has committed against people weaker than him, but instead it's used as a term of endearment, because Persephone literally got with him when she was 19 years old. And apparently the whole "eternally 19" thing applies to more than just her body, because even now, 10 years later, she's still lacking all the smarts and self-awareness and maturity to realize marrying this man was a mistake.

At this point Persephone isn't too naive or stupid to realize what she's gotten herself into, she's just a terrible person who's entirely complacent in Hades' bullshit and frankly, they deserve each other.

They literally keep talking about him for several more panels. Hades literally whines on and on about how much of a failure he is, how he feels like he failed the child who's trapped in Tartarus, and then of course Persephone tells him "no honey, you're the most important being in this process!" and she's LITERALLY STILL JUST TALKING ABOUT HIM, THIS WHOLE EPISODE IS PERSEPHONE TALKING ABOUT HOW WONDERFUL HADES IS, NOTHING ELSE HAPPENS. HAVE YOU NOTICED WE HAVEN'T EVEN SEEN KASSANDRA YET ?? HAVE YOU NOTICED THE COLD OPEN FOR THE EPISODE HASN'T BECOME RELEVANT YET ?? I'VE ALREADY HIT THE 30 IMAGE LIMIT AND I HAVE TO START CUTTING STUFF OUT-

Persephone and Hades talk about how they should name the interloper, but they don't come up with anything before transitioning to Leuce and Thetis.

And y'all, this has gotta be one of Rachel's worst cases of backpedaling in the entire series. You thought how she turned Leuce - Hades' first wife - into a homewrecker was bad? You thought it was absurd the plot tried to turn Leuce into Minthe 2.0?

Remember those text messages that Leuce and Hades sent between each other? The ones we never saw but kept getting alluded to? Well of course we couldn't have Hades actually text Leuce during Persephone's banishment, because then that would mean he isn't 100% loyal to his little pink cinnamon roll "qween", so what was the next best thing? Kronos possessing Hades and texting Leuce like so many people - even fans - assumed? No. It's worse.

The text messages... weren't real.

This literally makes no sense. First of all, it's once again Rachel creating drama out of "haha woman delusional!" much like she did with Minthe. But second, it literally doesn't make sense after what we've seen leading up to this.

Leuce didn't just talk about Hades texting her. She went to his office, intent on seducing him, with the knowledge of these text messages being real. She even TALKS ABOUT THESE MESSAGES WITH HADES.

But of course, they were interrupted before Hades got a chance to respond, so this was convenient enough for Rachel to try and pull off some 'twist' where she could easily absolve Hades of "cheating" on Persephone (again, the girl he only knew for like 1-2 months) but also not have to deal with the weird logic of Kronos possessing Hades just to text some random nymph.

This is absolutely one of the most absurd retcons Rachel has ever tried to pull to get herself out of the corners she writes herself into.

Now the episode is still going and FINALLY, it gets to Kassandra, after teasing her at the beginning of the episode and proceeding to do a whole lot of nothing throughout the entire thing.

This has to be one of the funniest panels in the entire comic, bar none. Rachel's gotten worse at drawing men despite making this comic for 5 years and having plenty of opportunity to improve, and he literally just looks like the fucking Amazing Bulk, haunting this poor mortal woman with his very presence.

So yeah, it turns out that the "curse" Kassandra suffers from in this "retelling" is, rather than having prophecies no one believes (or at least, if she does, we don't see that), she sees Apollo and no one believes her. Again, Rachel takes these weird liberties with the original myths that don't make a whole lot of sense all for the sake of seeming original, but whatever, Rachel hit her panel limit for the week, because that's essentially where the episode ends, with Apollo greeting Kassandra. As quickly as it was shown at the beginning of the episode, the one part of the episode actually featuring Kassandra is wrapped up in literally 7 panels.

THOUGHT VOMIT TIME

So with Episode 251 now summarized and out of the way, I really wanna talk about how this episode operates as the first FP episode after the midseason finale for free readers.

Despite the fact that it was a 4 month break and despite the fact that WT has always still released these episodes for free on schedule - with the idea that every reader will be up to date with the current content and can start fresh with a new set of FP episodes when it returns - this time around Episodes 251-253 have remained locked.

And I say Webtoons specifically because as far as I know, the creators typically don't have control over this type of decision. From what I've heard from other Originals creators, it's often WT who decides shit like coin costs, FP release dates, etc. This is why during hiatuses the numbers on the episode unlocks never actually align with their real return dates, sometimes they completely undershoot and reset, sometimes they overshoot and tell people LO is coming back in January despite the fact it's been confirmed it's coming back in November. This isn't Rachel's doing. It's clearly Webtoons trying to squeeze as much money out of this series as they can so they think the 4 month hiatus will motivate people to pay... but even the newest episode is still only sitting at 17.9k likes, which is just slightly above the average amount the FP episodes normally wind up sitting at by the time they're unlocked after 3 weeks, but this has been after four months. The hiatus of the comic and its communities absolutely put LO out of sight, out of mind.

That said, I don't know what this means for the series' return, if it'll have 6 FP episode unlocks going forward or if it'll just return with one new FP episode and Episode 251 unlocking for free readers, but holy shit, if that's the case, this is gonna be a shitty way to return from 4 months of nothing. The cliffhanger from 250 implies so much more than what it ends up being and it's, again, highlighting a fundamental issue within LO - it operates purely on a week to week basis, producing episodes on the fly, and concerning itself more with filling up its panel quota so that it can get readers from beginning to end when they can drop some new cliffhanger that likely won't lead to anything or will be completely resolved within three swipes of the next episode. Season 3 has been especially egregious with this and it's clear Rachel has run out of track to run on.

There is speculation that perhaps the reason the timing of this cliffhanger is so off is because Rachel didn't know the hiatus was going to happen and WT forced her on it. That said, it's not something anyone can really confirm besides Rachel. I wouldn't blame her for taking the time she did considering she was attending both NYCC and SDCC this past summer, and it's hard enough for her to keep up with any sort of buffer to begin with, so those conventions would have definitely resulted in episodes getting postponed anyways.

What I'm really interested in seeing is the reception when the comic returns. Hiatuses like this are brutal for traffic, it's incredibly difficult to get every single person who you started the hiatus with to return after it's done. It's not uncommon for comics to come back to only a fraction of their readerbase - and that's where the marketing comes in.

S3's return has been incredibly undermarketed. I've talked about it already but I'll mention it again here - they have done nothing to hype up LO's remaining audience for the ending of LO. Not only has the fact that the comic is even entering its final part been mentioned on either Rachel's or WT's social media pages, but the fan groups have been shut down for almost the entirety of this hiatus, shutting fans away from discussing the comic, making predictions, and just participating in their most active and direct part of the fandom. This was an absolutely absurd decision on Rachel's part, I don't know if this was her trying to shield herself from criticism or if she genuinely just doesn't give a shit about her fanbase anymore, but it's not a good thing if the only active groups to be found online during a comic's hiatus - it's final hiatus before the series ends - are the critical ones. Fans of the comic should not have to find out about its ending from me. I know I've got a way with words, but it's not fair to the long-term fans of this comic that they're being shut out by the comic's own creator, simply because she either doesn't care or is just so afraid of the critics that she'd rather hurt her relationship with her fanbase by shutting them out just to maybe shut out any critics who are nearby.

I don't know what the reasoning is and I don't know how it could have been beneficial. But that leads us to the other theory, one that I can see as plausible-

I don't think Lore Olympus was supposed to end here.

We've talked about this theory before, but to reiterate - it's been speculated for a while (prior to the news at NYCC that the comic would be ending) that S3 of LO wasn't going to be the final season as so many people had been assuming based on past info. There was no indication or marketing implying this was the final season - meanwhile webtoons like City of Blank were marketing their final seasons from day 1 of the premiere - and there were loads of new plot threads being established in S3 that we knew couldn't possibly be wrapped up by the end of the season. Case in point, it took Rachel seven months to get back to Kassandra, and while during that time she's rushed plotlines that shouldn't have been rushed (the wedding) other plotlines have proceeded to drag at a snail's pace or been dropped altogether. The speculation that S3 wasn't going to be the final season was plausible.

But now, suddenly, LO is coming to an end, likely within the next 20-30 episodes, and neither Rachel or Webtoons have said a word about it. No announcement post, no hype, no promotional art, no statement from the Webtoons VP of what to be excited for (which he's done before). It seems like they're either intentionally trying to bury it to keep people from panicking while Rachel retreats into the shadows to hide from the crimes she's committed, or they're intentionally keeping the ending of the comic unannounced so they can backpedal on it later to generate hype over it "deciding to stick around". Chances are, it'll be based on how the return of the series goes, and whether or not it's able to get the performance numbers back in the green.

I do not think it will. As I said already, hiatuses are already notorious for destroying built up traffic, especially on Webtoons where people (many of whom are teenagers and children) are conditioned to expect regular content on a schedule. But there's one other thing that's been bugging me - there hasn't been a shred of promotional art. We're currently less than a month away from the return of LO and not only are Rachel and WT being incredibly hush hush about it, but all the art Rachel has put out has been largely on her Blue Sky, where she has the smallest following, and none of it is exactly indicative of being "promotional art", rather just random sketches and doodles that she's doing on her downtime. Everything else has been promos for her books, SDCC/NYCC, of course, Rachel Smythe Presents, her next venture which she has been hyping up more than the actual return or ending of the comic that made her famous in the first place.

At this point, I'm not even fully convinced she's even started working on the next episode yet, let alone any sort of buffer. If anything, she knows that she's coming back to the series with 3 episodes still locked under FastPass, so all she'll need to technically have ready for launch is one new episode. Rachel has never been good at building buffers, not even in the beginning when she apparently started off with 2-3 episodes of buffer. Even when her comic is nearing its end, she's not learning any lessons, she's not setting herself up for success. And I'm not setting myself up for the hope that the series could possibly come back any better than it was when it left - if anything, I think we're about to see Rachel and the comic outdo itself once again on how bad it can possibly be.

And we still have two more episodes to talk about, which includes the cliffhanger for FP readers that we've been waiting four months on. Part 2 and 3 of these FP episode analyses will be going up as soon as I can get them done, ideally I'll have all three parts done before it returns so we can start off fresh with the newest episode.

Buckle up folks. Pour yourself a drink. We're gonna need it.

[fanficmanic]

I just finished watching 8x08, and I have so many feelings.

So. Many. Mixed. Feelings!

Fair warning - long post ahead.

For one, I re-blogged a post sometime after 8x01 or 02 aired, I can't really remember, about the parallel's between Eddie's first season on the show and this one. With the insane amount of presence that Ryan has had so far in promoting the season so far, I've had this bad feeling at the pit of my stomach that this would be his last season. Now, hear me out, I don't think today's episode was his last (the masses would riot if it is), BUT, they have left the room wide open for it to happen fully by the end of the season.

Two, the level of act-ception this show is doing is hilarious! You have 3 of the most talented actors out there (I'm looking at you Oliver, Ryan, and Kenny) act so badly that if it wasn't so funny I'd die of second-hand embarrassment. Who ever said that this show was serious is sadly mistaken.

Three, Buck's reaction on the couch after finding out Eddie has a realtor interview for houses in El Paso. I've read so many comments and posts, and again, I have mixed feelings. On the one hand, I want this to be the start of Buck's realization of his feelings for Eddie, but on the other hand, if it is, it feels like almost anti-climatic! This was the fall finale (granted, I don't have much experience with those) but shouldn't it end with more of a cliffhanger? (Promo for March's 2-part return is not included in this rhetorical question)

Now, what do I want to see happen (I know the chances of it actually happening is slim-to-zero but I'm saying it anyway)?

For the Eddie-Chris story, I want Eddie to go to El Paso, scream at his parents and say something along the lines of "you feel so guilty about taking my childhood away that you're overcompensating with my son and giving him the childhood that I should've had". Moreover, I don't think Eddie ever badmouthed his parents in front of Chris because: 1. he's a great dad who would never jeopardize Chris's relationship with his grandparents (proven by the fact that Chris felt safe enough to call them when shit hit the fan), and 2. Eddie rarely (if ever) expresses his feelings to anyone (but Buck), so him showing his true feelings about his parents in front of Chris is virtually impossible. So, when Eddie shows up at El Paso and screams at his parents (I want it to happen in front of Chris but without Eddie knowing that Chris is there), Chris will feel like he's just his grandparent's second chance at being good parents and will want to have nothing to do with them. Also, I want Chris to freak out when he finds out that Eddie is looking to buy a house in El Paso because it was never his plan to stay there forever.

If Tim and Co. use this story line to have Eddie leave the 118 and LA, I want him and Chris to decide on a fresh start by going to Hawaii. Dum dum dum: Enter 9-1-1 Hawaii where they follow the lives of members of the 366 fire house who are having to cope with a new captain that just transferred over from LA.

For Buck, my beautiful beautiful Buck. First of all, I bow to the beautiful portrayal that Oliver Stark does with his face alone. He's so expressive when he wants to and being able to show such a wide range of emotion without saying a single word is otherworldly. (This is not saying that the others aren't great actors, I just have a stupid crush on Oliver Stark and I'm self-indulging here).

Anyway, back to what I was saying. The scene between Buck flipping over the tablet, Eddie explaining things, and Buck going to take a seat on the couch with the camera focusing on his face while Eddie wasn't looking wasn't longer than 2-3 minutes at best (could've been longer - seemed too short for my liking to be honest. These two haven't had enough screen time together this season IMHO). However, within just those few minutes, Buck went from panicking about wanting to call Tommy, to skeptical about why Eddie flipped the tablet, to playful about what Eddie must be hiding (like only a best friend would), to shock at hearing Eddie's explanation, to supportive of his best friend's decision (because he knows that Eddie must be dying on the inside at being so far away from Christopher), to panicking again at the possibility of losing his best friend. Buck spirals so easily on a good day. Today? It's a terrible, horrible, no good day and for Buck to be able to put a lid on his emotions so he can be fully supportive of Eddie says a lot! I also think that THIS is what will throw Buck back into his fuckboy phase, and NOT the breakup with Tommy.

Don't get me wrong, I hated how they ended things between Buck and Tommy (the struggles of being a multi-shipper), but in the grand scheme of things, who would have a more profound effect on Buck? Tommy leaving, or Eddie leaving? How about both of them leaving, making him spiral on his own?

Anyway, like I said in a previous post, this is my first time having to go through a fall/holidays hiatus. I don't celebrate Christmas - so I don't have that option to keep my minds off of things. This leaves my mind to wander on its own, which can be a very scary thing. I know that I already planning so many stories (as if I don't have enough ideas in my 9-1-1 folder), but I also know that I'll probably re-watch the show and dissect it with a fine-tooth comb, which will probably results in more story ideas.

I'm also really looking forward to all of the fanfiction that will come out during the coming 3 months.

Right now? This is exactly how I feel.

👇👇👇👇

[bookwormcosplays]

Misconceptions of Sherlock and Co

Here I am going to list some misconceptions that I saw before getting into Sherlock and Co that I felt need to be corrected for any new people trying to listen. The things listed might be dubbed critiques. If you are someone who does not like criticism on your favorite pieces of media, please show yourself out now.

Johnlock is endgame

I beg every Sherlock lover who love the stories in every variation and specifically Johnlock, please stop setting yourselves up for disappointment. Unless it is explicitly said, don't believe it's canon. The reason why I say this is when this podcast first started to come out, everyone said johnlock was going to happen. Those are some of the most popular tiktoks about Sherlock and Co. And I won't lie, it was the push that made me listen to the podcast. I can't find where I saw it please if you can find it, send it to me. They said, the creators, that wasn't within their plans. John and Mariana though? I don't know if it'll actually happen, but it just feels like that's what they're pushing towards. Call me a conspiracy theorist, but the name Mariana is a lot like Mary. Speaking of Mariana--

It's just John and Sherlock

It may appear like that for a couple of episodes, but Mariana becomes an essential part of the team and she is here to stay. If you were one of the people who just wanted the boys, you're probably going to be disappointed because that is not the case here. Mrs. Hudson whose real name is Mariana also helps in solving crimes. Usually I would say if you didn't like Molly appearing in episodes, you also might not like this. But Mariana actually has some type of depth. So maybe you'll actually enjoy her appearances in episodes.

These Are New Interpretations of Sherlock and John

Yes and no. This might be controversial, but it didn't feel new. And it didn't feel like ACD's characterization. John and Sherlock's characterizations seems like they took a lot of inspiration from bbc Sherlock even down to some of the mannerisms especially the way they speak. It feels almost like fanfiction where they took the bbc Sherlock character interpretations of John and Sherlock and put them in an alternate universe. Over time though, they seem to be straying and they're now becoming their own characters. But if you told me at the beginning, "oh this is a new podcast based on bbc Sherlock fanfiction" I would've believed it.

POC Friendly

LOOK LISTEN, I'm not saying they're spouting out slurs. But someone, a white person, posted this is a poc friendly podcast. When I heard that, I assumed certain things. I assumed they had POC cast and crew, they had sensitivity writers, cultural consulting, etc. The cast and crew, respectfully, are majority if not completely white. I remember looking up Sherlock's voice actor after seeing all the fanart and I was so confused seeing a white man. Now this doesn't mean that POC should run away from it, but this does mean that when they say/do certain stuff there's no one to tell them "hey maybe let's not do that." There are instances that felt ignorant and unnecessary. In the Blue Carbuncle, they read a letter or a transcript from someone who saw an incident in the street (avoiding spoilers). I don't know how to phrase this, but it felt very much like they were mimicking some type of POC (most likely black). And they didn't put on a blaccent or anything, but just the fact that it was a white writer writing this making fun of how they spoke rubbed me the wrong way. And it went on far too long. Then there was Sherlock bowing at an Asian restaurant and John told him it was inappropriate, but I was stuck on why was it added? It wasn't humor and didn't have to do with a case. It shows Sherlock's ignorance, sure, but it just really didn't add anything. When it comes to content made by white british people, the bar on racial awareness for me is to the ground. I don't expect them not to have ignorant moments. But stuff like that, it is something that should be accounted for when you try to say something like it's "poc friendly." So would I say POC friendly, not really. Is it welcoming of everyone no matter what race or ethnicity? Yes. There's not a sign on the podcast that says POC do not enter, but be aware what majority demographic is a part of this and that they probably are going to say stuff out of ignorance.

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I've been meaning to write this post for awhile, but I haven't gotten around to it. Plus, I wanted to see if anything else changed before I made a post. I genuinely don't see this as critiques just pointing out stuff for those who might go in thinking this podcast is something it's not. But I still put the criticism warning for people who might not want to see this. I really enjoy this podcast and it inspired me to read the original stories. They put a new spin on these stories that's modern, different, and still entertaining.

[the-badger-mole]

Iroh Did Some Stuff Wrong...Not Saving Azula Wasn't One Of Them

There's a....hmm...an interesting conversation that I was looped into recently (I blocked the two people most deeply involved, and I don't remember their names, but I think a few of you know who I'm talking about**). The gist of it is that Iroh didn't do enough to save Azula and he gave up on her too quickly....after she tried to murder both him and Zuko within a few episodes.

I disagree.

Azula's story is tragic, and she was failed, but not by Iroh (and honestly not by Ursa either. Don't talk to me about the comics). Azula was failed by her father and by the draconian imperial system she grew up under. There are a few thing people seem to gloss over when it comes to the defense of Azula and blaming Iroh for what happened to her.

The first thing is that Azula was young when Iroh was leading the siege at Ba Sing Se. He was actively fighting a war before that. The chances are high that he didn't spend much time in the palace or with Azula in her youngest years. There's no reason to believe at that point that Iroh in his visits home would notice anything particularly wrong with how Azula was being raised. It's probably how he and Ozai were raised, too. To Iroh, before the loss of Lu Ten caused him to question everything, what would look so wrong about how Ozai was raising Azula?

The next thing is that Azula is a prodigy. She was a talented bender from a very young age. She was also a daddy's girl. The way Ozai favored her and saw to her training were forms of abuse, but they were not forms of abuse that would've been as immediately recognizable as what Zuko went through. Azula was thrilled to be Ozai's favorite child. Iroh wasn't going to come between that bond. Not after years of hardly being around and then coming home a failure. Not after Ozai successfully stole the throne from him. Azula is never shown to have much respect for Iroh. Imagine if he approached her trying to save her from her father, who she does respect (and love, I guess).

If there was a point where Iroh could've intervened with Azula, it was well before the show started, and probably before he knew an intervention was needed. He was only able to save Zuko because Ozai didn't care about him. Azula isn't Iroh's fault, and it is so weird to me to see people trying to argue that he failed her. What could he have done differently for her, except discover time travel? Even then, you can't save someone who doesn't want to be saved.

**Don't tell me their names. I don't really care. They're blocked, it's over. This was just context