#i have so many feelings about the parallels in this story

[theglassesgirl]

The Ithaca Saga: What IS a Monster, how it’s presented, and when fictional S.A is integral to the plot.

So -

This was originally a response to @ / anniflamma which you can still find on my page unedited. But with the new discourse surrounding the suitors, I figured I could retool it as a standalone essay to express a topic I’ve been trying to pin down for a while now; What exactly does the mean when they call a character a monster? What do they do, do the reasons matter, and how does the subject of rape affect how the fandom consider some monsters more unforgivable than others? When IS rape in fiction “necessary” and why such questions defeat the purpose of exploratory creative works.

In this post we will discuss all the major antagonists of the Epic Musical, Penelope’s agency, the label of Monster and the types of moralizing one might do when faced with uncomfortable subjects in fiction and how to prevent these feelings from blinding is about what a story is trying to say.

For those who read my original response; there’s new content to read here and posts that will be referred to, if you’d like to give it another gander!

Thank you,

Let’s begin;

I think making the threat of rape explicit was very much needed, actually.

It’s come to my attention that there are people here and on tiktok who are so uncomfortable with the subject matter in this CENTURIES old tale that they’re both refusing to accept that it plays an important part in the original poem and musical, AND are bizarrely insisting that Jorge should have magically done away with it to make more palatable.

This is beyond juvenile - it’s a clear sign of media illiteracy.

What, if I may ask, do you think it means when you say that the suitors are going to force Penelope to choose one of them to marry.

You may respond that they want to take over Ithaca. That they want to be king. But take a moment to consider what forcing a woman to marry one of them will entail. I wonder if you think that one can divorce the idea of sexual violence in this plot.

It would be…unfathomably difficult to do so. Because you CANT. There is an implicit threat of Penelope’s will breaking and having to have unwilling and reluctant sex with any one of them in the event she just gave up and picked one.

This isn’t a storyline that depicts Penelope of being willing to marry any of the suitors. She is WAITING for her husband’s return. Even if he doesn’t, she doesn’t WANT to marry someone else. Her consent is being violated by the very merit of them being in her palace, eating her food, and threatening her son.

They’re doing ALL OF THIS in order to bend her will in the HOPES of raping her as a bonus to becoming king of Ithaca.

My contention is the use of “unnecessary” when it comes to this trope in media - though themes of rape can be uncomfortable, to call them unnecessary HAVE to meet certain criteria. Which this specific instance doesn’t.

By observing various responses, it’s clear that the threat of rape went completely over many’s head in this instance of the story. So I very must appreciate Jorge making it SO clear that it’s upsetting.

This part of the odyssey, and the musical, is very much about Penelope suffering under the threat of assault for YEARS. In the same way Odysseus was (a thing I touched upon in my calypso essay, in terms of his ambiguous situation in the musical) - it’s a parallel that works as both Antinous and Calypso were introduced (regardless on your personal interpretation of what Calypso did or did not do, but that’s neither here nor there).

It has taken an emotional and psychological toll of either spouse. And the kicker is that neither of them are freed of this situation on their own - they are both rescued by outside forces. Athena/Hermes helps free Odysseus; Athena/Odysseus will help free Penelope.

The looming threat of rape is SO necessary that it helps the catharsis factor we feel toward PENELOPE’s story - it’s nothing to do w Odysseus who by now is a force of nature as big as Poseidon, his actions happen TO her, and it’s up to her to decide (per “would you love me” ) what she feels about that. She can very well reject him! She’s suffered under male violence for YEARS. Odysseus’s violence and those of the suitors toward her are basis enough for the comparison.

Do all men, including her husband, become violent? Does she want to put up with that? We know from her song snippets that she is NOT a woman that simply succumbs to the Rape Rescue trope as suggested by ignorant consumers of media - and I call it ignorance and consumerism because there’s a clear lack of engaging with the material in an intuitive way. It’s just blind consumption - as if one bites into a burger and find a pickle, which you personally don’t like, and having it removed - you can’t treat ART that way .

Penelope is a very intuitive and emotionally intelligent queen. Stop infantilizing her. Her own husband suggests that like the suitors, his actions make him just as bad as they are and presents his hope as being understanding if she rejects him on those grounds. But those ARENT her grounds. She has full autonomy and can make a distinction FOR HERSELF whether she considers her husband equal to the monsters who have harmed her.

So let’s talk about the “Monster” label as it is presented on the entire musical.

Some have erroneously suggested that Odysseus has been given an out to commit cruel and ruthless deeds with out “good justification” - he does it for his family,, after all!

Which is a misunderstanding of everything every antagonist of each saga has done.

Let’s start with the Troy Saga: Odysseus has killed a BABY. He made the choice to put his family over this child. Everything he has done and lost would be for literally NOTHING if he hadn’t, as even if he had killed the suitors and regained everything - the GODS themselves would make sure that child would come to an aged Odysseus and slaughter him, Penelope, Telemachus and his entire kingdom when he came of age.

Odysseus STARTS as a monster. We have been rooting for the man who laid Troy and its children asunder. As such, the label of a monster is NOT so much a morally subjective label - it simply a thing that IS. Or rather. It is what ALL the antagonists ARE, but it’s hardly a condemnation of any of them.

(Peep that one of the first lines Ody says refers back to in the Vengeance Saga is what he did to Troy - he STILL views his actions over there as unforgivable, so not even HE will ever see himself otherwise, the problem was that he felt so guilty over it that he became a detriment (a different kind of monster) to his friends and family when they were all guilty of the same thing and trying to get home.)

ALL of the antagonists have a “good reason” to kill ALL the soldiers (who again, have looted and slaughtered the Trojans) Odysseus and his close friends included. Whether your AGREE is almost irrelevant…because the story itself proposes that it’s irrelevant.

The next saga introduces the cyclops: his motivation is primarily that his FRIENDS the sheep have been slaughtered. You can argue in the scope of things, you can’t empathize with this but it’s his good reason. He’s the son of a god, and these sheep are all he has. His friends, who matter to him as much as Polites does to Ody, are being taken and slain, he is being drugged, attacked and maimed. VERY much was Ody goes through in the final saga. And even so.

The Cyclops is antagonistic to the party, he’s a monster who feels justified killing to avenge his killed sheep. A monster is a thing he IS.

As Poseidon’s son, he asks his father to kill the 600 men who have ransacked his home and beat on him. He doesn’t view his father as being wrong for this. In the same ways Ody and Telemachus don’t waste any time addressing the slain suitors later on. Poseidon is a monster of a god - it’s just a thing he is. Not even being stabbed 100 times is enough to repay the harm he’s done - to most everyone, not just Ody, but we are not asked to quantify that. Just live with it.

Circe has killed NUMEROUS men over the years. HER “good reason” is that something bad happened to her nymphs when she let a stranger in her islands. She doesn’t even promise that she WONT kill in the future - her song ends w the suggestion that the world may continue to need her to puppeteer! Because she does not exist to be “redeemed” - she is somewhat more reasonable and capable of empathy than even the likes Athena, who being a greater and more powerful god, does not have the one on one affection to her follows as Circe does. She’s a monster! It’s a label, a thing she IS.

So here we begin to ask; is it LOVE that gives people the capacity to do monstrous things? Because the cyclops loved his sheep friends, Poseidon loves his son, Circe loves her nymphs.

And by now you’re saying now wait a minute didn’t the Underworld Saga go over this? Why yes it did! And Odysseus decides to “become the monster” - he already IS one by the standards of the cyclops, Poseidon, Troy - they all see him as a monstrous being. But he accepts that, after being one in Troy, he held back and ruined the lives of his men, making him a monster to THEM. His “good reason” for being so!

He attempts very hard to be the General he was in Troy and prioritize them going home, sparing no sympathy towards his enemies - but in the Thunder Saga we see the gods further push him to be completely self-serving like they are. The sun gods cows are harmed, he sends Zeus in relation - his “good reason” being his friend were personally harmed.

Odysseus’s “good reason” is ultimately decided to be the same good reason he had to slaughter the Trojans - to get back home to his wife and son.

Like with the Cyclops sheep, Circe’s nymphs, The Sun gods cows, and Poseidons son, WE are shocked and made to feel some type of way about Odyseuss’s reasoning. Surely HIS personal suffering shouldn’t cost the lives of “innocent” men…but it does! It surely does.

He is a monster. It’s just a thing he IS.

Now, Odysseus spends the next seven years under the thumb of ANOTHER monster. And through calypso own reasoning, despite her tragic backstory, her “good reason” she IS a monster. She’s incapable of understanding why she wasn’t reciprocated. Incapable of empathizing with a human because as a god who has spent eternity alone, it stands to reason she, like all the other monsters mentioned before, prioritizes HER personal suffering over everyone else’s. In some versions she either kills herself or does spend the rest of eternity alone. She’s a monster. This is a thing she IS.

Now what the HELL does all this have to do with the suitors?

Odysseus started the musical a MONSTER. He’s worn different hats, but it is what he IS. It’s a label, not a moral critique.

ALL of the antagonists of every saga have a “good reason” NONE of them are ruthless for ruthlessness sake! It’s immaterial whether you agree with them or not, but to understand them for what they are.

Odysseus is the antagonist of the ithica saga, md while the suitors are the antagonist to him and his family, we see their fate form THEIR POV

The suitors could not have been depicted as “rude youthful men” like Telemachus. That Odysseus killing them should be shocking - a frightening condemnation of everything he’s done and became. But I ask once again - in what world are the suitors not implicitly set up as monsters?

Because again. They aren’t being rude for rudeness’s sake! They aren’t JUST eating Penelope’s food and sleeping in HER house. Them threatening Telemachus, as you propose, isn’t “enough” of a reason because they didn’t wake up one day beefing w this boy. Everything they do is for the express purpose of sexual violence towards the Queen of Ithaca, who upon assaulting, will make it so any one of them will be King.

You can’t separate the one from the other. You get a nonsense scenario. The whole REASON they’re there in the first place.

Even if you create a fanfic where 108 men wake up one day and raid the palace to slaughter the royal family with no intent of sexually assaulting either (because remember Telemachus is also the subject of Hold Em Down) and then fight amongst themselves to be the next king, but then isn’t that STILL a “good reason” for Odysseus to slaughter them?

Now I hear what you may be asking: but if all the monsters of the sagas, Odysseus included, have a “good reason” even though we might not agree with it, what kind of monsters does that make the suitors? Surely and clearly THEY aren’t doing what they’re doing for noble reasons.

I consider them akin to the 600 men who died under their captains command.

Because, as stated before. Odysseus views his actions in a Troy as his start of monstrosity. He did all that to finish the war and do back home. He ruined the lives of all Trojans.

So did his soldiers.

The only moment in time (even in the deleted songs) that the bulk of them repent about the war is in terms that it left them without food.

But glasses! They were just following orders!

Which is what one of the suitors suggest in song 38. Their serpents head is dead, THEY were just going with Antinous’ flow, they are innocent.

Like the 600 soldiers, the 108 suitors sacked a home that wasn’t theirs and harmed a wife and child - does them being the queen and prince pale in comparison to the hundreds of wives and children slain in Troy? Homer is a genius to ask us to see these parallels for what it is.

The suitors ARE monsters. That is simply what all 108 of them are. In the context of the story itself, their intent is to break Penelope’s will, commit martial rape, and become king of Ithaca. They aren’t there for kicks, they aren’t ignorant boys, they’re socially accepted adults abusing the hospitality rule with an express purpose.

So a GROUP of monsters are slaughtered by ANOTHER monster, and though in this instance we can argue it’s morally justifiable, it doesn’t take away from Odysseus’s fear of being rejected by his family. He has ruined the lives of the Trojans, his men, AND multiple gods! To get to this point. He IS a monster. And the story asks US, through Penelope, if he is still worth loving.

Seeing Penelope as merely his reward is so backwards and bizarre. It’s very clear that bad faith interpretations of her are based on objectifying her erroneously, when the narrative presents her as a fully developed character.

In the story both in the poem and the musical that the suitors ARE NOT her guests. She is being sequestered against her will.

In what world could the suitors be “just” murderers and not….very clearly rapists? It’s BUILT into their motivation. You would have to change the very FOUNDATION of the Ithaca plot line and Penelope herself??? To say nothing of Telemachus’s role!

What’s the proposal here? That Penelope invited these suitors? That’s she’s actively looking for a replacement husband? Okay, again, that changes literally SO MUCH of the story, but wouldn’t that put Telemachus in a position where he too has to change? Does he resent his mother for doing this? Is he helping his dad out of spite or because he wants him back? How are we meant to view Penelope in this radically new and hip Epic the Musical? Is she savvy and in her right to choose a new boo? Okay…okay, so then….you want Odysseus to be the only one unchanged and go axe crazy because….hes jealous? He kills these upstanding men….curtain call. That’s all folks!

Absurdity at its finest. You throw Penelope’s agency out the window. Her weaving and unweaving her loom is meaningless or simply doesn’t happen. Or maybe it’s that she wakes up one day and goes hey yknow what I WILL consider marrying one of these guys with no sense of dread and fear. Oh wait Oddy has killed then all! Never mind me feeling unsafe a week ago, he’s done a Bad.

Crazy.

It’s just…not going to end up making Penelope look like a well written female character if Jorge has done what you wanted! THAT would make her a mindless prop. You seem to think she is one, and that’s not the case. Historically, in fact!

She is a whole person in the poem and musical whether you understand it or not. You would have to argue so thoroughly why she sucks and let me assure you - there are entire DISSERTATIONs on why you’d be incorrect.

So, no.

No, you CANT take away the rape in Penelope’s storyline. It matters ALOT. It’s the ROOT of the matter! Could old school vegetales make something up that’s more to your sensibilities? Maybe at its peak but god, I couldn’t possibly come up with a draft that could reflect that. I won’t even try.

The rape aspect of the Ithica Saga isn’t unnecessary - it’s INTEGRAL to the plot. It can make you uncomfortable, but it’s BUILT into the royal family’s suffering whether it’s explicit or not! And it SHOULD be explicit! Because you seem to think because it usually isn’t, that the rape aspect isn’t there!

I cannot imagine coming to this kind of conclusion.

They are not random men going on a siege of the palace one day - you cannot “sanitize” the SUITORS because by the very merit of them calling each other THE SUITORS there is an implicit threat of sexual violence. Because Penelope doesn’t WANT suitors. She rejects them. They’re already violating her consent.

How the FUCK to do you censor the rape when it’s in every action they take? And I know what you’re saying: but didn’t Jorge censor the rape aspect that both Circe and Calypso commit towards him?

Further reading: suggests that ALLUDING to it is not the same as censoring, that it still FITS the PURPOSE of these characters in regards to Odysseus’s suffering under them. That after ambiguity, it is NECESSARY to make the rape aspect CLEAR in order to create both catharsis and MEANING at the end of the narrative. The THEME is still respected and present, it is not REMOVED. Please consider reading the linked follow up that answers this question.

In short.

It’s truly a matter of using one’s goddamn head when it comes to view fictional depictions of rape as “necessary” - because though some depictions can be presented BADLY, to suggest they should not EXISTS lends itself to rape culture. It silences the voices of victims. Its representation denied. Don’t talk about it, don’t even suggest it, because rape is bad.

It’s an action that happens to people. It’s a crime in civilized society. It’s a physical and psychological trauma that has always been. It happens daily, in fact. Though epic the musical is a source of entertainment for you, it doesnt exist solely for that purpose.

When Homer included it within his original oral story, he did so as a storyteller trying to get his audience to philosophize, not simply have fun.

I think we’ve come to some abysmal conclusion that men can’t write about these topics when we have historical evidence of at least one man knowing what the hell he’s talking about. And Jorge has done a phenomenal job even when he hadn’t depicted blatantly.

If you’re uncomfortable to the point of not wanting to see it at all, that is entirely on you, art and creative works allow us to explore these topics safely. Whether it’s from the POV of the assailant or one of the victims commenting on it, fiction is one of the only places we can talk about it and learn about ourselves in a way it doesn’t harm real people.

I don’t even want to BEGIN discussing all the losers who are still harassing Antinous fans or people who genuinely enjoy his song despite/BECAUSE of the subject matter. Its purpose in the story matters more than you policing how it’s presented and how it’s consumed. No amount of people enjoying themselves will take away the foundational POINT of the character and song. It’s perfect the way it is.

Like with the chaos that calypso discourse wrought, you cannot control how people treat a NOT REAL CHARACTER or the songs they sing - if it bothers you that one type of fictional villian is treated one way or another, it is on you to find likeminded people instead of going into others faces and pretending to be a self-righteous prick. You can throw whatever buzzwords you want, the CONTEXT these characters live in has nothing to do with how others want to play with them. If you don’t understand the difference between the two instances, fandom is certainly not for you and will not be changed to suit your sensibilities.

To end this post, I want to thank those who further asked me questions and bounced ideas off with me, and wow, what a phenomenal ending to a grandiose musical. I hope I can see it live, animated, streamed, developed into a game etc whatever form it takes now that the concept albums are published

Thank you all for engaging w my work💖

[onwesterlywinds]

I've been thinking a lot again about the implications of the title of "viator" translating to "traveler" (prompted by Writing Things), and while there's been a lot of discussion about its relation/parallels to Azem, I feel like I've seen a lot less, if anything, on how "viator" plays into the overarching narrative of Garlean imperialism as well. For a relatively small detail, it's honestly one of the things I really think Endwalker did really well in its portrayal of Garlemald and Zenos.

Throughout XIV's history, we've been shown countless perspectives for why the Garleans invade and occupy other nations, whether it's [insert Nael's Bahamut tempering], Gaius' claims that peace can only come from a strong leader, the racism we see entrenched in Garlemald's colonial rule in Stormblood, etc. Endwalker, however, doubles down on the role of Corvos in Garlemald's history and elevates it to a founding narrative: the idea that the Garleans are justified in invading other nations because they themselves were driven from their own ancestral land thousands of years ago.* This is by no means the full scope of Garlean history (as just one example, Return to Ivalice posited that many other Garleans are likely descended from the technically-minded people of Goug), but it's still very consistent lore-wise and thematically for Endwalker to present the Garlean people's expulsion from Corvos as a creation myth for their empire, and the way this plays out in 6.0 MSQ lets us see the extent of the damage that that myth has done to those who have made it their worldview.

And introducing the term "viator" at the end of that arc as the name for the Empire's most loathed, reviled, and shunned class - the exile - ties into this idea so well: the greatest punishment the Garleans can give for one of their own is to make them a wanderer - to ensure that person is forever denied the home that they prize so highly in their society. This is a classic example of scapegoating, which has deep connections to empire throughout history and Western literature.

It's also such a fitting conclusion to Zenos' relationship with the Garlean Empire, too! One of the reasons I've loved Zenos as an antagonist since 4.0 is that despite treating the workings of imperialism as beneath him and irrelevant to his true desires ("Ala Mhigo and Doma and Garlemald be damned!"), he has a sense of entitlement to the peoples and lands of Ala Mhigo and Doma - and to you, the Warrior of Light! - that is extremely Garlean. The fact that (to paraphrase Lyse) he did all that just so he could feel something is what makes him such a perfect antagonist for Stormblood in my book. But to the Garlean people, that lack of care for his homeland - be it because (their own) people were tempered/killed from his actions, or the very sexy patricide/regicide, or that he caused the Empire itself to fall into ruin when he "should have" succeeded Varis - was to them the greatest crime he could commit. To put it another way, he probably would not have been named Zenos viator Galvus if he had first been Zenos zos Galvus.

And despite me forever lamenting the fact that the 5.X-era plot thread of Zenos having dreams about Amaurot never actually went anywhere, even that ties into his eventual role as viator: the only place with which he has ever had any real connection is gone forever.

Which makes a grave at the end of the known universe feel almost fitting in its tragedy.

(*On a serious note: While I do think the writers were intentional - and, mostly, thoughtful - around leveraging imperialist rhetoric, the fact that this particular framing is often used to justify an ongoing genocide is one of many reasons why I would be very happy for future Garlemald stories to stay on pause for the next few years.)

[capesnjapes]

YES. I have so many thoughts about this comic in particular - it is as close to fully canon Batjokes as we've gotten I think (Europa & a few others like Knight too, def) if only because of the emotional beats they have in this story that are SO particular to this story. It's the end of the world and they're together. He finds Joker almost instantly, too, as mentioned above; they will always find each other. The Joker saves Batman in this one, too! More than once! And there's SO many lines & moments that are just literally just... essentially saying that yeah. They're together. It's the end of the world, and it's just them. Bats could have left Joker's head dangling right where it was but he didn't. He immediately took it with him, no hesitation. The Joker is honest and direct with Bats - and very descriptive throughout this comic, which I really love. You get a full picture through his narration of what happened, and he repeatedly tries to tell Batman about like. His full and complete feelings for him, but of course it's the Joker, so it comes out all funny. I think there's a really fantastic part of this arc, too, where we see Lex Luthor having completely whiffed his whole deal with Supes by actually fully killing him, and how it was the worst thing that could have happened to Lex emotionally (and how he didn't mean for it to happen at all!) but also obviously for the larger world. It's sort of like a parallel to Bats/Jokes, where it illuminates & highlights the importance & significance of their relationship. Kill your boyfriend and the world ends, literally (yikes). Lex spends the rest of his limited days trying to somehow bring Superman back and fix things, and fix himself & his totally broken heart. It's so well written. Bats keeps Joker's head with him at all times, carefully held in his arms protectively, which is like. Idk. It's so good. It's just so good. *Screams* like a banshee when it looks like Omega is gonna stomp him to death and he can't stop him from doing so. Also Robin Joker? It's so good:

And Bats saves Joker like... so many times in this it's ridiculous. He's actively, fully protecting him in this one because Joker is a friend (and more). This page alone when Omega threatens to re-write all of Batman's personality and his memories:

LIKE. This is! Perfect??? The ending, too, where the Joker *finally* tells Batman Some Things is special too:

Like, he knows that Omega is not Batman, because Batman and Joker have a very specific, very special thing and Omega totally blew that to pieces (and thought he'd killed Joker! Dismissively, too! Jerk!) This is a REALLY long post but this comic is SO good for all the reasons @mydarlingbat said above and if you're a batjokes fan and you haven't read it, oh my god please give it your time! It also has a supremely happy and poignant ending about the nature of Batman via the Joker.

BATMAN / THE LAST KNIGHT ON EARTH #1

Lemme just say that i adore . . . I love this comic so freaking much. It's such a wonderful read. Such a heartfelt story. I really want to talk with you guys about this particular scene here. Theses panels really got me thinking. The reason I love this particular scene is that Batman always find his way back to the Joker even when he's not trying to, he just does. I just fancy the fact that the viewer sees the painting beautiful. It's a beautiful sight. The way he blows the red sand off the lamp makes you think it's gotta be the most beautiful thing he's about to discover, and to Batman it really is. I truly feel this way. Because after he says 'what the' He just continue to bear his gaze at the Joker, taking in the sight. He stares at the joker like it's the most beautiful thing he's has ever laid eyes on. The funny thing the batman didn't know the Joker would pop his eyes open, which startle him.

Then we get a very clear picture of the Joker eyes, and god are they beautiful. It's almost letting us see the Joker as oddly beautiful, and Batman's alone. There's no one to tell him he's wrong. There's no one to judge him. It's just him and the Joker, and he feels more free to be as he pleases. The truth is there's no true reason to actually stare at the Joker. He could have moved it. Shook it. Said something, threw it. Got rid of it, but no he takes in the sight, and the reason I don't think batman's sad, because he's already frowning before he makes it to JOKER. Batman lips goes downward. I'm not saying it's not possible, but it's very unlikely.

[fire-of-the-sun]

Noctis and The 'Black Moment' That Never Was

Given the recent discovery of an earlier version of a Final Fantasy XV scene featuring Noctis being imprisoned by Bahamut in Angelgard instead of the Crystal and him showing genuine fear about his destiny (here), I'm reminded of how unfortunate it is that the final game didn't explore the reaction to his fate as well as it deserved and how it could have been one of the most significant scenes in the game. In light of this new scene, I want to use it as an opportunity to address this vital plot point, how it affects Noctis' arc and the story as a whole and why what we got just didn't quite hit the mark.

THE 'BLACK MOMENT'

In typical story structure, this plot point would represent the "The Black Moment" or "The Dark Night of the Soul" among other titles. Taking place before the climax of a story, this pivotal moment is intended to feel like all hope is now lost and showcase the protagonist at their lowest and, in many cases, physically alone. To overcome this, these scenes demand that they gain new insight and understanding - essentially to realize the lesson meant to be learned that defines the thematic core of the story - to pull them out of their despair and carry them across the threshold to the final act. In the above image, you can see that this event precedes the "Road Back" which, in the case of this story, is obviously represented by Noctis returning to the world and regrouping with his allies before entering the climax to face Ardyn and fulfill his calling. Of course, everything leading to the end hinges on the 'Black Moment' beat, so let's explore how each version of this scene tried to tackle this and how they could have been improved:

SCENE COMPARISON

In the original version of the scene, Noctis is physically imprisoned in a dark and gloomy cell in Angelgard - a fitting choice that helps to highlight the tragedy of his circumstances and reflect how he feels trapped by his destiny as well as parallel Ardyn's own imprisonment. Noctis verbally lashes out at Bahamut and expresses genuine anger and fear towards the newly discovered truth of his impending demise.

"'Returned to naught'? I just... fade away? Wait - no! Lemme out of here! - Noctis

Though this missing scene does a better job portraying a stronger reaction from Noctis than the final game, it does still fail to give credible evidence to validate his decision to accept his fate beyond the player simply selecting an option to continue. As such, Noctis and the player may feel more coerced into saying 'yes' here without actually going through the time and processing necessary to truly accept it. Though I'm sure this scene doesn't fully represent the developer's initial intentions and there could have been far more to it, as it stands, it's still not enough to create a successful 'Black Moment".

"Only at the throne can the Chosen receive [the power] and only at the cost of a life: his own. The King of Kings shall be granted the power to banish the darkness, but the blood price must be paid. To cast out the Usurper and usher in Dawn's light will cost the life of the Chosen. Many sacrificed all for the King so must the King sacrifice himself for all. Now enter into Reflection, that the Light of Providence shine within." - Bahamut

In the final version of the game, the essential elements needed for this scene to work are... present to a degree but could have been greatly improved as these aspects are implied rather than explored. After being told the news of his impending death, Noctis does make a distressed expression, but he never gets to voice or process his feelings about it and the moment quickly moves away to show him being forced into slumber.

This is supposed to be a huge turning point. A gut punch to the character and audience and it deserved a stronger reaction - one more akin to the panic and anger that is showcased in the original scene. On the heels of this devastating news, discovering Ardyn's true identity and nefarious intentions and finding himself utterly alone without his friends, Noctis is understandably at his lowest and we need to feel that. Light shines brightest in the dark and the darker we allow this scene the be, the brighter hope can shine after and the more satisfying it will be.

By way of processing, we see a brief montage of footage from previous moments in the game to show Noctis reflecting on them and then he awakens 10 years later having completely worked through all of his trauma, grief and guilt and the sudden transformation naturally feels a bit jarring. Progress is assumed through the passage of time and the natural maturation that comes from age, but this simply isn't enough. There is a lot to unpack here and it deserves to be. The game can't simply rely on a time skip to produce a grudging acceptance. It needs to be a choice - one that he makes wholeheartedly and that the audience fully understands.

I will say, I do like physically seeing the power entering Noctis via the Ring of the Lucii in this version rather than implying he's powering up off-screen, but it's something he should earn after accepting his fate rather than it being forced on him without his consent. Gaining the power he needs to save the world needs to act as the reward for choosing to do so.

DIGGING DEEPER

So, what is necessary for him to grow here? What is the thing that truly awakens the inner King in Noctis and brings him out of the depths of his despair? What makes him choose to willingly sacrifice his life? Though it's an amalgam of a number of things, above all, it is love. Love for his father, love for Luna, love for his friends, love for the people he's met and the world he lives in. Love that counteracts his fear. He has to remember what and who he's doing this for. Though the cost is steep, he has to determine it's worth it to fulfill his duty and save the world.

Of course, Noctis' opinion about his calling changes throughout the story. After Luna first introduces him to the reality that he is the Chosen one as a child, he's hesitant at first, but promises he won't let her down. He has no real idea of what his task will truly be but shows enthusiasm anyway most likely because it was Luna herself who showed such belief in him. As an adult, Noctis begins to struggle with his new reality after the death of his father and shows great anxiety about the mounting responsibilities thrust upon him including his kingly duties, upcoming marriage and the growing burden of his calling. After the loss of Luna, his dedication to continue feels largely driven by immense guilt and need for revenge. In Episode Ignis, after Ignis suggests they end their quest due to suffering so much loss (and now knowing about Noctis' fate), he responds:

"Are you kidding me? That's exactly why I have to keep going - because if I give up now, their sacrifices would have been for nothing!" - Noctis

Though not wanting their sacrifices to be in vain is noble, this should not be his main driving force, especially if his desire to press forward comes from a place of pain and contrition more than anything else. He even refuses to put on the Ring - the symbol of his Kingship and destiny - which shows his lack of true commitment to what is expected of him. At this point, he still has a lot to process and understand before he can fully accept the reality of a fate he is still largely unaware of and truly let go of the fears and anxieties surrounding it.

Noctis has had little time to process his emotions on his journey thus far and the respite afforded by the 'Black Moment' now allows him the opportunity to do so. Whether through playable content that permits Noctis and the audience to tangibly explore his past and current emotions or a prolonged cutscene in either the prison or Crystal, we definitely needed to see him confront what's happened thus far - the good and the bad - and grow from it.

In the Dawn of the Future version of the story, we learn more about what Noctis was dreaming about in the Crystal which included witnessing some of the history of the world, seeing insightful pieces of the lives of characters such as Ardyn and Luna and even getting to interact with his father again. Given this was added to the book and therefore indicative of the developer's intention to feature it in Episode Noctis, I wonder if it had always been their desire to explore his time in the Crystal this way but never got the time to realize in the final game. Noctis actually getting to see and interact with the past and other significant figures would have made for a far more effective 'Black Moment' given its prolonged introspective and revelatory nature.

THE LIGHT IN THE DARKNESS

To help guide and comfort him as she always has, I believe that somehow seeing or hearing Luna's spirit again in some way during the 'Black Moment' would have been essential given her narrative purpose and provide a satisfying reference back to her dying promise to him:

"When the world falls down around you and hope is lost. When you find yourself alone amid a lightless place. Look to the distance, know that I am there and that I watch over you always." - Lunafreya

Like the moon shining in his dark prison cell in the old version - the literal light in the night sky - she is the reminder of love and hope to cling to when the darkness threatens to swallow him. This dialogue is so accurate to this scene that I feel it was foreshadowing it specifically to payoff here. Also, if they had gone with the idea of Noctis drawing his power from the moon instead of the Crystal, her presence would be even more significant here and it certainly seems like the original version in Angelgard attempted to spotlight her to a degree as the translated dialogue after he accepts his charge reveals:

"No one tells me anything. I'm always late accepting. Luna, I'm sorry. I will fulfill my duty." - Noctis (Translated by K as in Kei)

This situation creates an even deeper connection between them as, to save the world together like they were destined to do, both Noctis and Luna have to die and surrender their personal desires for a future. As in life, Noctis has to continue to follow her lead and example to become the man she always knew he could be. If she could be dutiful and walk boldly to her fate, so can he and that knowledge would be paramount in helping to encourage him to complete his journey as he remembers his promise not to let her down.

Of course, to truly accept his death, Noctis would naturally have to mourn the life he won't get to live. So many aspects of his life have been derailed already and, after the loss of his father, his home and his fiancé, he now has to face that he has no future beyond being a sacrifice. This is a reality that Luna had to face as well, which would help him better understand what she had to go through and even come to terms with her death as he comes to terms with his own. By letting go of the guilt he feels and truly recognizing that it was an inevitable and accepted part of her calling and not a product of his own mistakes, can he start to forgive himself for everything else, too.

"[...] That may be but it's my choice. If only... if only I could hear his voice once more. If we could laugh together as we did as children. If we could live out our days together as we once dreamed. [...] Forgive me, I vowed to only cry where prying eyes could not see the tears in mine. [...] No, she is no different at all. She wants exactly what they do: to be with the one she loves. But want though she may, it is not to be." - Lunafreya

In a moving flashback, we see Luna grieve the life she wanted and knew she would never have but emphasize that, despite her sorrow, it was still her choice to "throw her life away" and one that she accepted fully with humility and grace. We see her persist to the end due to her strong sense of duty and, most importantly, her love and dedication to Noctis and the people of the world which is what he must use to guide him as well.

To me, this moment feels reminiscent of the campfire scene where Noctis also tearfully voices his acceptance of his fate while allowing himself to uncharacteristically reveal the pain of it, too. Though Noctis has had a decade to process these feelings by this point and fully come to terms with them, he's still a person mourning the sudden finality of his life and the now fleeting moments he'll get to spend with his remaining loved ones. The emotional strength of this scene could act as a reflection of his initial despair as the pain becomes fresh once more but, this time, Noctis is more readily able to tame it. As he stands and looks to each of his friends in turn, reflecting on their friendship and his love for them, he allows that love to outweigh fear and grief. As we watch his tears turn into a smile, it is a perfect display of how he's grown from the 'Black Moment' and a fitting final scene to the game.

"So, I... I've made my peace. Still, knowing this is it and seeing you here, now, it's... more than I can take. Well, what can I say? You guys are the best." - Noctis

All of this emotional progress would also lead him to simply start believing in himself and his worth. He has to remember that he has the support of so many who truly have faith in his ability to fulfill his duty and it's something he needs to accept in himself, too. If they had gone with the Angelgard prison version, a place once defined by punishment would herald Noctis' liberation and, instead of succumbing to darkness like Ardyn, he found light.

METAMORPHOSIS

By reflecting on and embracing his past and remembering what drives him, Noctis would then be ready to finally accept the reality of his calling and begin his metamorphosis, both physically and emotionally, into the King of Light. The man that emerges 10 years later is wise, mature and at peace with his fate. Though the sudden change may not feel as congruent in the final game without taking the time and necessary steps to get there, there are still many moments depicting just how far Noctis has come after the time skip that leave an impact regardless. Beyond the campfire scene, another great example that comes to mind is his conversation with Ignis, showcasing that he can now look back on his life fondly and doesn't hold onto negative emotions:

"You know, looking back, it wasn't all bad. [...] And our fair share of trouble too... but I don't have any regrets. Luna and you guys brought me this far and now I'm on my own." - Noctis

We can also see how much he's grown in his final battle with Ardyn. Not only is he physically stronger, but he's also gained the mental and emotional fortitude to withstand Ardyn's denigrations regarding his efficacy as the Chosen One and his guilt about his father and Luna. Though these barbs would have hit their mark in the past, Noctis is now resistant to them as he's fully processed those emotions and no longer gives them credence. Noctis has tasted the darkness Ardyn once knew but come out of it intact due to the strength of his relationships that ushered him through it. Unlike Ardyn, he is not alone and he fights for love instead of revenge and that is why he succeeds.

"Yet when your father died, you were off playing with your friends! When your beloved died, you lay watching powerless to stop it! You think 10 years is a long time? It is nothing to me! I have lived in darkness for ages!" - Ardyn

Despite what some might think, defeating Ardyn in the physical world is not the Climax. It's in the throne room that Noctis must face the true test of his calling and finally allow himself to be sacrificed. This is where the themes and the lessons he's embraced from the 'Black Moment' rise to the forefront and lead to Ardyn's ultimate demise. It is here that Noctis walks to his death without visible fear, summoning his own executioners with steeled resolve. There are no tears. No second thoughts. Just an unwavering determination to fulfill his calling and save the world once and for all as he assures his father to trust in his ability to do so.

"I'm home. I walked tall and though it took me a while, I'm ready now. I love you all. Luna, guys, dad. The time we had together, I cherish." - Noctis

Through dialogue, the scene reminds us that Noctis' relationships are his driving force and, in what could have been an even more moving parallel to the 'Black Moment', the flashback footage of his loved ones that he remembers at his lowest once more is what helps him endure the agony of his sacrifice and is enough to sustain his strength to continue to the end.

"It's finally over." - Noctis

As Noctis utters these final words at the culmination of years spent in turmoil facing the obstacles of his unjust fate, Noctis dies with a small smile on his face, relieved that his struggles are finally over. He has restored light and hope to the world, fulfilled his calling and can now rest with his lost love knowing he succeeded in safeguarding his remaining loved ones and provided a future for generations to come. It's a bittersweet conclusion to his life - one filled with great strife and heartache but also great love - love that was essential to save the world.

In another parallel between them, Noctis' end reminds me of Ravus' words regarding the death of his sister, Luna, in Episode Ignis and further showcases how much Noctis succeeded in following her footsteps:

"I always knew that [Luna] would face [her] fate without fear, fulfill [her] duty without regret. But part of me always hoped... she would get the chance to live and love as she pleased. [...] And, as in life, I know she will confront that challenge with a smile on her face." - Ravus

CONCLUSION

In conclusion, allowing Noctis to have a stronger reaction to the devastating news of his fate and exploring his passage to acceptance to provide necessary character growth would have been a huge improvement and further embodied and enhanced the heart of this story, one that, though touched upon to a degree, is lacking the immense impact it could have had. Though this game is full of powerful, moving moments, a more successful 'Black Moment' could have been one of the strongest and added more weight to an already emotionally resonant conclusion.

Thanks for reading! If you enjoyed this meta, please like and reblog to help spread it around!

[syndrossi]

resonant ch33 dvd commentary

This was a problem child of a chapter as I tried to figure out the best path toward the next set of plot points, which, combined with the work months (Nov and Dec) from hell meant it ended up a bit late and thereby thwarted my hopes of breaking 200K words of Resonant by year's end, alas.

Favorite line(s):

“I want his head,” Daemon croaked, unable to calm the racing of his heart. “I want to swing the blade that cleaves it from his shoulders. Do not deny me this, I beg of you.”

SOMEONE PLEASE GIVE THIS MAN SOMEONE'S HEAD, HE DESERVES IT. Reyne's, Crayne's, Allard's...he's not picky right now.

Daemon glanced at the red on Viserys’s white-and-gold sleeve, still bright somehow despite being half-dried. How is it that you seek to spend my blood, brother?

The "blood to be spent" is one of my favorite of the candle's refrains to weave in, and it was fun to have a literal representation here.

[The sobs] were as quiet as they were heartbreaking, each wracking him violently, as though the pain of it were trying to bend him in half.

Anyone who's had a really intense cry knows exactly what that feeling is.

Rhaegar seemed to read his expression, and his arms tightened around Qelebrys briefly, as though apprehensive, before steeling his face and turning toward his brother. It was an impulse that was all too familiar to Daemon. He does not want his brother to think him weak.

You know it's bad when Daemon is seeing parallels with him and Viserys, rather than Aemon and Baelon.

Favorite Details

Daemon's victory

As someone pointed out in the AO3 comments, this is a rare occasion where Daemon outplayed Otto, who seemed to be expecting his leaked information about Daemon being seen visit Mysaria in Flea Bottom to result in far more dire consequences for him. He didn't realize that Daemon had been withholding information of his own.

(Granted, Daemon would gladly have continued to withhold the information about the bounty on his own head, had it not been useful in the confrontation.)

Redfort brothers

Sorry, @textbookchoices, I think you were envisioning something quite different when I promised Redfort content...

I don't know, just the utter heartbreak/tragedy that was the Redfort twins' lives in those early years, where they didn't understand why people behaved so strangely and why there were so many unspoken rules. And adoring their older half-brothers, only to be utterly crushed when they never returned, convinced it was their own fault for daring to impose/ask. (When the reality was that this was near the time when Raymar's dye started failing and Allard was eager for the Redfort brothers to halt their visits anyway...)

But also the vulnerability Rhaegar/Raymar was willing to show, and the love the Daemon met it with. Raymar got a lot of much-needed affirmation this chapter, as much of an unsettling rollercoaster of emotion as it was for Rhaegar. They both needed that, and with the stress/upset over the rift with Jon, they were due for a meltdown.

Valyrian histories

I like to imagine Aegon entertained his sons with stories like that of House Dewald (the name itself me making a bad German pun, since the holdfast was near the edge of the forest aka "der Wald"), and Aenys passed it on to Jaehaerys who passed it on to his sons and grandsons. So much of that purely oral history would have been lost in the Dance, with only the children surviving.

And the Valyrians love their stories of "why you should never try to steal dragon eggs, aka because we'll kill you really, really dead."

Dynamics

Daemon and Viserys

Not Viserys's best day ever, though he's not quite as clueless as he seems in giving Reyne an extension. (His reasoning is "I'll need a little time to get a replacement ready and minimize the harm during the transition if he truly is a traitor," hence the one week for Reyne to "prove" himself.)

If things go poorly (aka proof of treason is found), Reyne could very well lose his head!

But that's little comfort to Daemon, who continues to feel (rather fairly) that Viserys won't go beyond half-measures for him, while he'll bend over backward for everyone else.

@marmari33 had a very insightful ask on the topic of how Viserys acts when Daemon is on the verge of a breakdown (aka he's most willing to act the comforting big brother then), so I won't rehash it here, but that's another complicated piece of their dynamic.

At the end of the day, the problem is still that although you can't go around beheading everyone without proof, Viserys's touch is far too light given how serious the treason that was committed by House Royce (and Redfort) under House Arryn's stewardship. Viserys being willing to cede the negotiation ground to the Vale give them the home field advantage/the sense that he's willing to be lenient.

Rhaegar and Raymar

These two have been more integrated than Jon and Jon Redfort by a wide margin, but Rhaegar was feeling it this chapter. As mentioned above, he's eight-years-old and he's in a cold war with his brother who he idolizes and doesn't trust him, which hurts, so he's primed for a breakdown. The hair dye background, which is a particular pain point for Raymar, just opened the floodgates.

Those with a keen eye will notice that Jon has also been more affected by his counterpart of late, so there may be a ticking time bomb there to reckon with...

Quick hitters

It felt almost like a simulated D&D session, the events at the end of the chapter. There were about ten different things that could have happened instead, but this is what the dice (and Daemon) landed on.

It remains ambiguous just how much of Reyne's failure is incompetence, malice, or both.

Larys is back at the Red Keep now, btw...

What was Jon so cheerful about when he found them at the enclosure? We'll find out next chapter...

Daemon's violent outbursts are never not nerve-wracking for the poor Kingsguard. Granted, he's never harmed Viserys, but the sounds of a man breaking a chair by slamming it repeatedly into the ground are not gentle.

The one thing about Daemon's hunger for Allard's head is that it doesn't take into account what the boys might want.

How did Reyne come to know of Daemon's visit? He only showed his face to the woman at the "front desk" so to speak of the establishment, and Mysaria herself. Is Mysaria still informing on Daemon to Otto for a price? Does that still make sense, given the promised rewards from Daemon? Or is it another source?

Daemon's anger tends to have an insulating effect against the candle, while despair/grief make him susceptible, and we see both sides of that coin in this chapter. Though it also remains an open question of whether there is always a warlock "manning" the candle, or if it has any passive effects.

Daemon remains best dad when it comes to finding ways to cheer up his sons. Plotting the perfect flight path to find some natural beauty for Rhaegar followed by interesting ruins of a military defeat for Jon.

The saddle refitting is complete, meaning the boys can take a field trip at any given moment...

Cut scenes/moments

“If I tell you of my own troubles with my brother, will you tell me of yours?” Daemon asked. His son’s grip tightened on the cup, then slackened. “It is nothing.”

The scene was already pretty long, and it didn't feel the right time/moment to veer into the Rhaegar-Jon conflict.

That was the provence of Allard Royce, for those years of cruelty. Lorent Reyne, for dismissing the whispers from the Vale that would have united Daemon with his sons years before. Rhea Royce, for devising such a heartless scheme, and the Redforts for aiding her in it. I will see them all burn.

Just a little extra seething from Daemon that I ended up cutting. I think it's pretty well understood within the chapter that Daemon is hungry for blood/revenge.

“He does not trust me. He thinks that I am weak.” “I am certain that is not so,” Daemon said. Rhaegar’s shrug was listless. “I understand why he believes it to be true. He is able to resist the candle, where I have failed. I was the one foolish enough to drink the cider at the Saltpans and be taken. When we were captive, he challenged Crayne and I—I feared him.” His voice grew thicker with upset, each word escaping him quickly than the last, until he was stumbling over them at the end. Daemon pulled him onto his lap, resting his chin atop his hair as he held him. “You are a child. You are allowed to be frightened.” Rhaegar twisted free, springing to his feet with fists balled tight. “Jon isn’t. He is never frightened. He thinks that he must keep me safe, whatever the cost to himself.” “I am your father. That is my duty.” Daemon caught one of his small fists, clasping it between his hands. “I will keep you safe, both of you.” His son regarded him with a solemn expression that pierced his heart. Aemon. “You will not always be there to protect us.” The chill of winter gripped Daemon suddenly, bitter and harsh in his lungs. The crimson of his blood on Viserys’s white sleeve swam before his eyes, only it was snow he saw now, stained with lifesblood, more than a body could spare. “Do not say that,” he whispered, heart seizing.

A little more of the Rhaegar-Jon conflict that I was a bit sad to see go because of the "blood to be spent" imagery melding with the Wall vision.

And there's one more cut scene (the longest) I'm holding onto in case it's relevant next chapter. If not, I'll share it in that DVD commentary!

[glitter-stained]

I’m trying to get a handle on Jason as a character. I got a great answer on Jason and Tim from @ultimate-marysue but they directed me to you as the Jason Todd expert. I’m wondering about Jason and Damian now. Do they interact at all in canon? Are they friendly/friends, typical brothers, enemies, or just acquaintances? Or do they just ignore each other?

I hope you can give me an answer. Thanks either way!

Oh goodness, that's because @ultimate-marysue is an absolute sweetheart but unfortunately my Jason knowledge is far from exhaustive, especially when it comes to Jason and Damian since some of their relationship happens in, um, unfortunate comics that are hard for me to get through (they probably say that because I study developmental psychopatholgy and do in-depth analysis about jason through that length rather than exhaustive lore-knowledge).

Sorry to toss you around like a pingpong ball, but I know @daisybell-on-a-carousel is currently trying to read through every single one of Jason's apparitions in comics (godspeed), so depending of where they're at in the comics they're definitely the one to ask for stuff like that in general. Unfortunately, I don't know anyone who posts a lit of lore/meta about Damian and Jason's relationship, but I do know @spicy-apple-pie loves Damian a lot and does really sweet comics so idk if they can help you but at the very least if they can't you'll get to read some cute comics.

The little I know about Jason and Damian's relationship:

-Jason and Damian's first meeting, from what I've gathered, is either from Battle for the Cowl (brutally butchers Jason's character, my second least favourite ever if I could go back in time to stop Tony Daniel from writing it I would), in which Jason shoots Damian in the chest, or Morrison's Batman & Robin run (somehow even more hated by the fans than Daniel, Morrison has admitted later to just not liking Jason's character. According to a survey I'm running these two are in the top three of worst Jason writers, but Morrison has a bonus of also butchering Talia's character to an unfathomable level and I don't know if I like his Damian very much either.) in that run (which is Dickbats with robin!Damian) Jason is portrayed as the classic "crazy evil villain" bs and making Dick his sworn-enemy apparently (he's more of a plot device than anything imo). So, we're off to a great start.

-The issue is, with the reboot, I find it pretty hard to clarify for some events which ones are still canon or not. The current state of dc comics is pushing the batfam conception more than ever before, with Jason back in the family (something that vaguely happened off-screen in the n52) and neither jason, dick, tim, damian nor anybody else seems to reference or resent anything about that despite how cartoonishly evil jason was in those so I think it's implied that they're not canon anymore (and I hope they stay this way and buried under twenty layers of retcon). However I don't think I've heard or seen any mention of a different first meeting for them so there's this shadow area of yeah btfc and morrison's jason probably didn't happen but then what did?

-currently as I said dc (ie tom king amongst others) pushes for a very "classical family batfam vibe" so they're on panel/on missions together but i haven't heard of them having arcs together in mainline (people who know more than me please feel free to correct me in the notes, in general but also if there's more about this specifically). I'm getting "siblings that don't really like eachother but don't hate eachother either vibes", especially on Damian's part. It's really not the most developed relationship in the batfam, of that I'm sure.

-for many people I've seen that their favourite damian and jason comic is juni ba's boy wonder volume 2. It isn't canon in mainline (and not my favourite jason characterization tbh) but since the two of them don't seem to interact that much in canon and the story is pretty popular and feels kinda parallel-ish to canon I get why people would consider it their reference. Also it has pretty sick designs for the both of them which certainly doesn't hurt.

-in the young justice show, a brainwashed/brain damaged(?) Jason is shown holding a baby Damian in his arms. This has no incidence on any dc comics canon but is extremely cute and therefore worth mentioning.

[aflockofravens]

I have watched the Jujutsu Kaisen anime twice since the beginning of the month, and I just finished the entire manga that I started on Sunday morning.

This is fine. I'm fine. It's fine.

[evelynpr]

Might be a hot take as a bkdk and tgck truther here, but I find izuocha endlessly fascinating, beautiful, but also tearfully tragic.

I see their love for each other as something representative of their innocence and naivety when they only knew so little about who they were, and what was to come.

I think the main barrier of their relationship is that its rooted in how they see each other very idealistically, specifically that they're attached to the image of their Best Heroic Selves, and not the deeply selfish, destructive, freaky, and egotistical parts of them. To each other, they need to keep fulfilling that image or else that same person they looked up to would almost die in front of them, and that would be too cruel. Although that hero is still there, that same person they looked up to is not the same now because of...well...everything.

Izuku had barely even talked to girls when he first met her. She was Izuku's first ever real friend (Sorry Kats, everyone and him knows he was terrible), so he saved her in that entrance exam even if it was so dangerous. She gave a new meaning to his derogatory nickname just by being a friend that believed in him. After that, she saved him several more times (Blackwhip and Megaphone are the biggest samples iirc). It makes perfect sense that she is Deku's hero.

Ochako hardly knew what it meant to be a hero when she first got into UA. Just by reaching out to some kid tripping, she made a new friend who would then save her in that exam, then save him again in return. This boy then became someone who was always working so hard to save everyone in trouble, and she realized she wanted to be just like him too. "I want to save people"

But...Deku changes. The weight of One for All is on his shoulders and he needs someone to carry this burden with him. He continues to want to save other people at the expense of himself, still not letting his true selfishness and ego ever show- and it only grows more and more unbearable.

Then...Ochako fell in love with Himiko. Truly, relentlessly, selfishly and devotedly in love with a girl who then dies giving her blood to her- the greatest expression of love Himiko could ever give.

Not that they can't love each other because of this happening (and...so many other things oh god), I'm honestly not sure how to explain it- But them ending up together after losing that innocence and naivety? After Ochako will forever grieve the girl who showed her love in its most beautiful and ugly form? After Izuku changed so fundamentally as a person that the butterflies of a nice girl talking to you doesn't exist anymore? After that simple image of being a hero and being in love has completely changed for them both?

Even so, I believe they still love each other. There is no label I know of that can properly describe them though. They are each other's image of being a hero when it comes to saving people. Aside from Shoto, no one else can grasp the grief of the person you tried to save dying in your hands. They would no doubt try to cope with these losses together, and just try to get better together...but so much has changed. They've changed. The world changed. What are they now? Who are they now?

"What happened...to us?"

[discocandles]

i wanna talk about romantic killer and how impactful anzu is. the narrative has a theme with anzu having more impact than she seems to notice.

Before the show even starts, Anzu's been impactful. It could be blamed on the long-time crush, but Junta's a big case of this. Anzu bluntly told him he'd likely be good at baseball, so he tried it and she was right. One observation led him into a lot of his friends, and possibly his future career, but Anzu's oblivious to it. I think she noticed her impact with Saki, but in anzu's mind, there was nothing else to do. Someone hurt her friend and she was going to stand up for her so Saki wouldn't have to keep dealing with that.

Tsukasa is an interesting case in regard to anzu's impact. It's basically camouflaged until Kishi shows up. Anzu saw him blaming himself, after all, that's what most people did the first time. But anzu hits him with the most amazing line about wishing she could've been there to believe him then. and in the moment before he tells Kishi off, we see how much that impacted him.

the impact to Hijiri is the most obvious. Like we hear from Tsuchiya that Anzu's rejection led him to try seeing from a "commoner's point of view". Which helped him not simply rely on his status and wealth, aka influencing his life for the better. So anzu's far more aware of this, but she seems so shocked about it im more sure she doesn't notice her impact.

and then there's Riri. I think it's kinda a 2-way street, as these two changed each other for the better simultaneously. Anzu by calling out how Riri's lack of understanding humans would only hurt them, and Riri calling out how Anzu only caring about her greatest desires was isolating her(specifically from romance but it was hurting her friendships too). anzu's impact on riri shows more in their actions, like staying in human form more and trying to act like a human would. and those attempts build into them caring about anzu beyond just their job, esp in the last couple of episodes. Riri's barely in potato form and breaks the rules 3 different times for anzu, things the riri from episode 1 would've never done, lest they get a pay cut.

In conclusion, anzu is that friend who apropos nothing says the most insightful thing that will stick with you for years, but totally forgot about it right after.

[aroaessidhe]

2024 reads / storygraph

Walking In Two Worlds & The Everlasting Road

YA sff set in the near future where an opensource augmented reality is commonly used like social media, and there’s also a completely virtual fantasy game version

follows an Anishinaabe girl who who’s the top player in the VR game, and is constantly fighting to keep her place against the misogynist neo-nazi group in second place

as well as her real life, dealing with being a shy and self-conscious teen growing up on the Rez, and her brother having cancer

and a Uyghur boy who’s moved to her community from China after finding acceptance in an online community (even when he doesn’t agree with their more extreme views) - but when he gets to know Bugz, he has to decide who truly deserves his loyalty

great mix of sff and culture, the future while also very real community traumas of the past (and present)

[chipeanuts]

After a month of hyperfixation, I have finally come to the conclusion that Majimako is, and will always be, one of my favourite ship of all time at this point. Thanks for coming to my ted talk stay tuned for more 🤓✌️

[thats-a-lot-of-cortisol]

2 & 3 from section 1 for peri and 7 from whichever section has a more interesting #7 for diodore -moss

oooh these are fun ones!

2. Describe their tent set-up (outside and inside) (Peri)

I think Peri's tent is constructed similarly to Gale and Astarion's (boxy, fabric walls, little covered area outside). Deep blue fabric w/ golden astronomical embroidery, mostly the sort of thing you see on star maps. Little golden tassles around the edges of the tarp (?) and the doorframe. He'd have a small, circular, dark wood side table short enough that you can use it sitting on the ground, and a dark blue pillow next to it; there would be some parchment and a bronze miniature astrolabe on the table. The inside would be just. full to the brim with the gaudiest night-sky-themed pillows you've ever seen. No bedroll, no palette, just a nest that would put those cube pits in trampoline parks to shame. There would be two bird perches for his familiar Medani: one taller one next to his tent and one shorter one under the overhang. The shorter one would have a crow-sized bow-tie hanging from it. Rugs on rugs on the outside area ofc. 3. What would their character quest be titled? Why? (Peri)

This is a hard one! His tav ending involves taking over the Waterdeep arm of the Harpers, so I think his arc would have something to do with that. He'd be pretty bitter about being dropped into another near-apocalyptic mess when dealing with the last one a few years prior was supposed to be a one-time thing. Something-something ptsd in a world that doesn't have the words for that yet, something-something 'once a hero always a hero', something-something the weight of responsibility...he's a planeswalker so I think part of it would be whether he decides to stay on Toril long-term and directly help rebuild the Waterdeep Harpers or if he continues to run travel around afterwards, so maybe The Far Traveller/The Far Walker?

Harpson/Fae-son are also potential options. "Fae-son" nods to him being a changeling without it being super obvious (like Astarion's "The Pale Elf"). It would also mimic his backstory reveals from RoT ("oh he's not 'from here' so, like, the Feywild" -> "OH he's not from here"). 7. Describe their arc. How would a player help resolve it? What choices can be made? Can your Tav be turned down a dark path, or pulled to a lighter one? (Diodore)

Buckle up because we're in for a long one here. I've thought about Dora's story arc a lot because she's the first of my tavs that I truly made for the game while having full control over her backstory, etc. (versus Corentin, who had their arc baked into the story as a durge). Dora's a paladin of Corellon (oath of ancients) and her story arc as a companion would have to do with whether or not she should accept capital-r-Redemption, the process by which a drow can be truly "freed" from Lolth and rejoin the ranks of the rest of elven society. It involves all of the Redeemed drow's memories being erased and them being reincarnated as a surface elf. The implication seems to be that without that, regardless of a drow's actions, they'd be thrown back to Lolth when they die? Or at least that their eternal fate is unknown (which is the way I prefer to think of it for. personal reasons). Under normal circumstances, Dora would be a long way from Redemption being presented to her at all (she's not even 200 yet and has only been on the surface for a couple decades), but like with the other gods' Chosen among the companions, near-apocalyptic circumstances tend to speed up those sorts of things.

Of course, you'd have the themes of faith & relationship with deity when they're all unequivocally real and are also mostly all assholes; maintaining or breaking generational cycles; facing the unknown; morality when none of your choices are "good" (and how that interacts with morality vs self preservation); power vs freedom; identity outside of the people who made you; etc. The choice would first be presented to her sometime in late Act I/early Act II, likely the first long rest after the group resurfaces from the Underdark and you've probably gotten some of her backstory already. I have no idea how Larian would have characterized Corellon, but he's considered one of the more benevolent/open-minded deities iirc, which could be interesting to see contrasted with Mystra, Vlaa'kith, and Shar. How much that open-mindedness would extend to a drow, even one who has been a faithful follower even before she escaped to the Surface (and who inherited that faith from her father), is unclear. At the beginning of the game she would be leaning towards accepting Redemption, despite her own misgivings about whether or not she would still be her in that case.

Her final decision (at the ending pier scene) would depend on the relationship she has with the PC and the other companions. Her best ending, imo, would be her not accepting Redemption but continuing to be a force for good. If she has a good relationship with the PC, she would have something to lose. I think seeing the House of Mourning would affect her too. After all, the thing Corellon is offering to her as a way to find peace is the same thing the Sharrans are using as a way to manipulate and control others.

She's viscerally aware of how she was socialized and very actively chooses "good", so pushing her towards a darker path would be incredibly difficult but not impossible. If you side with the goblins she'll leave immediately, and turn on you if she's in your party when you attack the grove. But if you decide to try and control the cult in Act II, depending on your over-all actions before then and how you've interacted with her, you could disillusion her to the point of convincing her to break her oath. That path would entail convincing her that controlling the cult is actually the best idea. I'm sure there would be other times that her oath could break that wouldn't necessarily lock her into an "evil" path, especially with how Oathbreakers are handled in the game. Knocking out Minthara instead of killing her outright and letting Auntie Ethel go in Act I instead of killing her are two things that come to mind.

If she doesn't choose Redemption she would be at the epilogue party, of course. I'm a bit undecided on what would happen if she does choose Redemption. She may not be there at all, w/ Jaheira, Halsin, Minthara, and/or Astarion mentioning running into her in her new, reincarnated state. Or she would be there, confused, and mention how the PC seems familiar in a way she can't quite place. In that case, she would ask them how they know each other and mention something about feeling a twinge of grief looking at everyone, but that she doesn't know why she feels that way. It would be up to the PC how much they tell her (if they tell her anything at all).

[no1ryomafan]

Thought about how given I’ve written so much for getter and rotate enough in my brain I could make hypothetical “how to write this characters” post if those even exists until I remember the factors of:

<the status of the tags doesn’t warrant a lot of writers as is and the only person to ask me this was a irl <I don’t wanna be gatekeepy even if I wouldn’t put my bias into it <who the fuck would it really be about besides ryoma and maybe hayato bc honest to god just grasping the team dynamic of the getter will make you be able to understand each individual pilot <I doubt myself I even write 100% in character despite what I’m told 💀

[dropespeon]

i Need to write something about dcmk because i just have so many thoughts and nothing i've read has done it for me but I do not know what. But I need to write Something

[tapakah0]

(Continuation because I don't trust tumblr tags) #Oscar... pointing at her neck with the weapon like this... *sigh* eather he is a very good actor or can adapt very quickly #TRUST POINTS FROM ECLIPTICA HELL FEGEFJEGJEYGWYGWD #HE JUST WANTED TO HELP #THE PREVIOUS NEVER WANTED TO HELP AND WE EAT THEM AHAHAGGASHGSA FUNNY YEAH? # *cough* Ma'am... take room... you seem to enjoy his physical company... #OH WHAT AN OFFER HUH #YEHA HDFEMFAWHGDMA MAXAZAANABA I KNEW HE GUESSED THAT WARD IS NOT COMING BACK AHAHGAHGAAHGSA DEAR SCULPTOR YOU F***ED UP YOU TOOK THE SMARTER ONE IN THE BASIC WAY BUT WE HAVE A SOCIALLY SMARTER ONE AND THIIIIIIS IS A REAL DISASTER AHGADHGDHDGHGHAGSDH #DEAR OSCAR CONGRATS YOU ARE *SHAKING HIM* YOU EVIL DEVIL LITTLE DEMON WITH ONE BRAIN CELL THAT HAS 1000 BRAINCELLS ITSELF AND ALL OF THEM ARE RESPONSIBLE FOR TACTICS AND SOCIAL NEGOTIATION

Part 11 ‘-‘

I have a feeling Shepherd and Ward would get along really well... you know, if you put them in the au where everything is the same, but there is peace and harmony in the whole galaxy

Previous

Masterpost

[simonbrain]

i know it's been done many times before, but i just love gross weird creepy awkward simon and his cute harmless bird.

like she's so intrigued by him, so infatuated with this odd man. she giggles at his dark humour and crude jokes, a genuine smile on her face as her shoulders shake from laughing so hard while he's huffing out a sound of amusement of his own. meanwhile, everyone else has an uncomfortable look on their faces, giving them both judgemental stares.

he's the type to tug her close to him and kiss her nasty, uncaring if they're in a public setting. he sucks on her tongue and spits in her mouth, a big hand reaching down to squeeze her ass before disappearing up her skirt. he doesn't really care if others watch or not, and he grips her tight when she tries to escape, swallowing all her squeaky little noises with a satisfied hum.

there's no shame when it comes to him. he lets her know when he's going for a piss and asks if she wants to come, not bothering to close the door (he demands that she leaves it open when she goes too; it's only fair). he uses her hand to jerk himself off when she's busy or not in the mood, heavy groans rumbling from his chest because it feels so much better than rutting into his rough hand—not as lovely as her soft, pretty cunt though. he lets his tongue dip low to lap at her asshole and ignores her whiny protests, promising he'll make her feel good in a second, groaning to himself as she grinds against his face.

ughhh he's just so unusual. sometimes he stares at her too long for it to be considered cute, dark eyes burning into her very soul for so long that she has to remind him to blink. he corners her just to get a whiff of her perfume, heavy breathing down her neck like he's getting worked up just from smelling her.

when he comes home from deployment and tells her about the things that happened while he was away (lost one of my good knives in tha' prick), she's sitting pretty on his lap and chirping out her responses, urging him to tell her more. she says it's good for him to get it off his chest, but really she likes hearing his gruesome stories. it makes her heart flutter that he's so skilled and competent.

others have come up to her asking if she's okay and if she's aware of the weirdo following her, and she's like "yeah that's my man :)" she tries her best to drive them away before he starts sulking over yet another person interrupting their parallel play.

she just really loves how strange and off-putting he is.