#i just have to start typing

[hinamie]

thank u canon plant nerd megumi for my life

bonus:

[idontmindifuforgetme]

friend wanted to see my tumblr, and when i told him i can’t show it to him bc it’s basically my personal diary he went “oh so I can’t see it but a bunch of strangers on tumblr can??” he literally does not get me. no one will get me like the people in my phone get me

[wasyago]

a random cleo in armor

[lesliemeyers]

this came to me in a dream

[ckret2]

What's your stance on Ford as a person? Honestly, I believe that for thr majority of canon he is a bad person. But I believe he grew. Still not great though XD

(Love him anyways obvs)

I disagree entirely! I think he's equally as good a person as any of the other main cast.*

*Except Mabel, who, as we all know, is always right about everything.**

(**This is a lighthearted joke. For the love of god, I don't want Mabel discourse in my inbox.)

His biggest sins in the show:

After telling his brother that he was thinking about changing their shared life plans, and then discovering that his brother had gone to the high school that night for no good reason and gone to the science fair for no good reason and messed around near Ford's science project for no good reason and broke it and didn't tell Ford about it... Ford believed Stan did it intentionally and held a grudge for it. You know what, it WOULD be pretty damn hard to believe it was an accident.

Hilariously ill-equipped to cope with Fiddleford's mental health. A guy who responds to "I have anxiety" with "have you tried yoga, it helps me" isn't a bad person, he's clueless. "Character cheerfully enacts a bad idea while a loved one in the background goes NO PLEASE DON'T DO THAT" describes half the episodes of Gravity Falls.

Was successfully manipulated by a professional manipulator into believing his best friend wished him ill. Man, what a terrible person Ford is for being manipulated by a manipulator and saying cruel things to somebody he'd been genuinely convinced was trying to harm him.

??? Didn't say thanks to a guy he was still mad at after the guy fixed a problem he himself had caused. This is a solitary example of stubborn bad etiquette, jesus christ. There's half a dozen different reasons why it makes perfect sense Ford wasn't in the right mindset to feel grateful, this is not something worth indicting his entire character over.

He had high ambitions, which everyone seems to lambast him for, but high ambitions that wouldn't have required doing anybody harm! (Until the professional manipulator started manipulating him into harming the people around him, but we are going to demonstrate some reading comprehension and not blame Ford's underlying morality as a person for things he never would've done if not for Bill's bullying, con artistry, and outright lies.) Like, what is it that he wanted to do with his life? Use his talents to get rich and famous? Shit, that's exactly what Stan wanted to do with his life. It's what Dipper fantasizes about doing with his life. Even Mabel, who thinks about her long-term future the least, dreams big with her art & performances and is already making big money off cheap-ass commissions. What terrible people they all are, for—let me check my notes here—uhhh... unrealistically fantasizing about achieving success in life by doing the things they're good at.

When their dad accuses Stan of lying as a child, Ford puts his entire summer on the line to defend Stan even though he knows Stan is a habitual liar and has no reason to believe Stan is telling the truth this time.

When his new college roommate he barely even knows gets laughed at for proposing an outlandish scientific theory, his first emotion is outrage at this injustice and he drops everything to convince his already-despondent roommate that he was right and help him prove it beyond a shadow of a doubt.

When he moves to a new town, he tries again and again to befriend his new neighbors, and fails not because he's rude or a jerk, but because he's awkward as hell, tells terrible jokes, and sucks at identifying phoenixes.

When Fiddleford gets hurt around him, he cares about it, feels guilty about putting him in that position, doesn't want it to happen again, and tries his best to help even though he's bad at helping.

When he gets kidnapped by a weird holiday folklore creature, he concludes without even thinking about it that he's now in charge of protecting and rescuing the kidnapped kids. Yeah, then he immediately starts hollering at the folklore creature for trying to impose his religious beliefs on Ford and the kids—but like, Ford was right tho, he just had bad timing.

When he discovers that the Northwest family committed atrocities against their poorer neighbors a century ago, his first instinct is to march up to their house, find the first Northwest he can locate, and give them a piece of his mind for it. Like, this won't even FIX anything. He's just THAT OUTRAGED over the injustice.

When he sees what he thinks is a fortune telling fraud conning the people, he attempts to debunk her because he's mad to see someone cheating other people with lies—and when he can't debunk her, he just leaves her alone rather than harass her about it. Typically, if assholes think somebody's doing something wrong but don't have any proof of it and fail to get proof when they look, they decide they're right anyway and keep giving that person shit. Ford doesn't give her shit. That's the opposite of an asshole move.

When he discovers his Portal To Knowledge (And Fame & Fortune) is actually a Portal To Doom (But Still Possibly Fame & Fortune, Maybe Even Godly Power), he isn't tempted for a second to keep working on it anyway. There is no moment where Bill manages to tempt him. No matter what Bill offers, no matter how long Bill offers, never, at ANY point, does Ford have a SECOND of "but what if I did make a deal with the devil?" the way so many heroes in similar situations often do.

You ever notice that? So often moral moments in the show are presented as choices the characters make. Will or won't Dipper give Bill a "puppet" in exchange for knowledge. Will or won't Stan fight a pterodactyl to protect Mabel's pig. Will or won't Mabel hand Bipper the journal. Ford is never given a "will or won't he" moment over Bill's threats, offers of friendship, or offers of infinite power—he steamrolls straight past them without a second of consideration—because, to him, the selfish, cowardly, easy choice ISN'T EVEN AN OPTION. He doesn't even SEE it as making a choice because the possibility of doing the wrong thing is invisible. A character who wavers first before turning Bill down would look more noble for "overcoming" temptation—it's harder to notice just how much stronger Ford's moral compass must be to not even feel temptation in the first place.

Greed and pride never tempt him to join Bill's side. Exhaustion, despair, and fear never tempt him to give up. He bears up under weeks, possibly months of extreme sleep deprivation, physical torture, psychological torture, emotional torture, threats of death, threats of brainwashing, threats to his family. He doesn't hold up so that he can pat himself on the back for being a hero—if that was all it was he would've gone "screw it, this isn't worth it and nobody would know I'm the one who gave up" a week in—he does it because he simply knows it must be done and because he's so isolated (half because of Bill's influence!) that he believes he's the one who must do it, all alone.

Thinking he has to do it by himself isn't egotism or pride; it's helplessness. He thinks no one else stands a chance. He thinks he's alone.

And, when he discovers his Portal To Knowledge is a Portal To Doom, he immediately feels guilty. No trying to deny the situation to protect his ego. No shuffling the blame off to someone else. No "maybe the apocalypse could have a silver lining!" No locking the door and trying to ignore the problem. He blames himself for being fooled—he IMMEDIATELY takes full responsibility for his actions—and he CONTINUES to take responsibility FOR THE NEXT THIRTY YEARS.

He takes more responsibility than is even warranted—he treats himself like he's an idiot for believing in an APPARENT GOD who's been practicing manipulating humans for thousands of years and who had never given Ford reason to believe the portal was anything but what Bill said it was. He beats himself up to no end every single time his past with Bill comes up. He even keeps beating himself up thirty years later when he's shoving warning notes to future readers in Bill's evil unkillable book!

When he falls into the multiverse, he dedicates his entire life NOT to finding a way to rescue himself, but to finding a way to permanently stop the CHAOS GOD who's still at the threshold of destroying Ford's world and countless others. He makes himself a hated criminal in the process, just to stop Bill. He's ready to spend the rest of his life trying to protect a world he doesn't think he'll ever see again. He does it because, as he sees it, somebody has to stand in between the children and the obnoxious folklore cryptid menacing them, and he's the only adult in this damn cave with the skills and knowledge for the job.

When he gets home, he doesn't tell his family about Bill and his quest because he's afraid that doing so will get them involved and endanger them too—and because he's too deeply ashamed of himself and his mistakes to stand the thought of his family knowing about the horrible things he's done (AGAIN, WHILE BEING MANIPULATED BY THE GOD OF MANIPULATION).

He loves his great-niece and great-nephew the second he lays eyes on them; he nevertheless tries to steer away from them to keep them safe from Bill; and yet he caves to the very first temptation to emotionally bond with his great-nephew he gets, because in spite of his noble "keep them safe" intentions, he wants so so badly to be close to his family.

As pissed as he still is at Stan and even though neither of them can look at each other without hissing like cats, he still makes an attempt to start bridging their divide by inviting him to play DD&MD.

When the apocalypse happens, he immediately puts his life on the line to try to kill Bill.

And when he's captured, isn't fazed for a second by Bill's offers or threats... until his family is threatened. The exact thing he'd been trying to avoid & prevent from the very start.

And when he's reunited with Fiddleford, his immediate reaction is to point out that Fiddleford's well within his rights to hate him—which isn't a new revelation, it's not like Ford had to do any soul-searching to reach this conclusion, he'd concluded that 30 years ago the instant he realized Bill had played him and that he'd been lied to about Fiddleford.

And then he tries to kill Bill again.

And then he's ready to sacrifice his own life to kill Bill—and the only reason he doesn't is because he has a metal plate preventing him from making the sacrifice... but, Stan doesn't have a plate. If Ford hadn't had the metal plate, he would have gladly done the exact same thing Stan did—and he would have thought it was right for him and only him to make that sacrifice, because it's VERY clear he feels (and has felt from the start) that this is all his fault and he's obligated to fix it.

Over and over and over, these are Ford's two defining character traits: getting so pissed off at injustice that his common sense shuts off and he goes into terminator mode until he's righted this wrong as best he can, even when he can't actually do anything about it; and feeling like he's Atlas, weighed down with the full responsibility of fixing everything he's done wrong and made to believe that, for everyone else's sake, he has to do it all alone. Even when doing so puts himself in harm's way, even when he has to put his entire life on hold for it, even if it might cost him his life. Scrape off his awkward social skills, his loneliness, his nerdiness, his endless curiosity, his zealous love of the strange, his starry ambitions, his yearning for recognition and success—scrape his personality down to the bone and that's what you're left with. A man who believes in defending the exploited so strongly that it makes him a little stupid.

I'm gonna go out on a limb and assume that you probably don't think Stan's fundamentally a bad person, and that you probably think that isn't even worth questioning. Stan's made a whole career out of swindling people, conning them out of as much money as he possibly can, stealing, lying, committing a long list of goofily-named crimes, and attempting douchy pick-up artistry on women; and to cap it all off, he held the safety of the entire universe hostage to demand a goddamn "thank you." Don't send me any "But he had reasons—" "But it was only to—" I don't need it, I don't want the essay, I'm not arguing that Stan's a bad guy, it's fine.

But. You can look at Stan's moments of cruelty and unkindness, his uncharitable thoughts, his character flaws, and think, "that doesn't define him. He's more than his cruelest moments and worst mistakes. He's imperfect, but he cares so much and his heart's in the right place, and beneath all the flaws his core is good."

And if you can't do the same for Ford, it's not because he's a worse person. It's because we got two seasons with Stan and five and a half episodes with Ford—and while we saw Stan yearning to fish with the kids or encouraging Mabel to whoop Pacifica's butt at minigolf or crying over a black and white period drama or punching zombies to save his family, we only saw Ford at the worst moments in his life and under the stress of a prolonged apocalyptic crisis—and, it so happens, all the moments he was pissed at the guy we spent two seasons learning to love.

Ford's got moments of cruelty and unkindness, uncharitable thoughts, and character flaws. But, at his core, he's a good person, and he always has been, and he still is.

[luna-loveboop]

Wars and Wild as knights in Lu

They have issues.

I have a lot of thoughts on Wild and Wars and their relationship (Order of this post is talking about saluting, Wild and Wars' different perspectives, memory issues, and fire) Rant time.

No saluting!!

So Wild took a formal- almost/awkwardly saluting pose when Wars confronted him in 'Entrance pt.2'

It's similar to the first time Wild addressed Wars as 'captain'. His left hand is up from where a salute should be, and his overall posture is awkward, with his shoulders and right hand raised, but it's clear he's trying to do a salute in the presence of a fellow knight.

In the second example his hand is behind his head, but his posture is very straight and his right arm stiff- he's again attempting a formal saluting position. Which is still awkward

It is less clear but his changes in posture clued me in. He goes from like a deer in the headlights to visibly sweating to straight backed and looking up at Wars- looking at the changes in his body language

Side note but I literally love how Jojo draws the champions tunic so much-

We can't see the action of Wild's body language in a comic, just the positions he went to. But he visibly leaned away from Wars before switching to a straight backed saluting-like posture. He's clearly freaked out, hence Twilight's face: >:(

I think that Wild taking somewhat military poses around Wars is important to their relationship issues because it comes from his struggle with memory and identity

.

So like. All of them have different perspectives

Wars

I adore Wars. He is baby and I love him. I think it is also important to acknowledge that he would not speak to any of the others this way.

And the scarf man cmon it's so pretty they are so cute-

Why is Wars talking to Wild like this? He's called him out and reprimanded him multiple times in front of the others. Wild has taken it well but tbh if it was Legend I think he would be on fire.

To some extent I think he is in captain mode. I think that he has trouble seeing Wild as not a knight. Wars gives Wild respect as a knight who sacrificed for his kingdom, but now it seems he's taking it away as a knight who's not doing well enough since he 'disregarded the plan'

At least I think that's the outside (or Wild's) view of it. But Wars internally really cares about Wild and he saw him run up to a giant and lose it. Different ways of showing concern perhaps?

Who wouldn't want to keep Wild from getting more scars?

I just. Don't doubt for a second Wars really cares about Wild- even if the way he's acting still isn't cool. He has no right to treat him like a soldier any more than the rest of the chain, and right now I think Wild is acting as the more mature person.

Wild

I adore Wild. He is baby and I love him. I think it is also important to acknowledge that although he is clearly making efforts after Twilight's injury, Wild has ignored Wars for the majority of Lu, by not speaking to him much, and not thanking or acknowledging Wars when he directly helped him. (Small example being walking with Hyrule not Wars when injured and not directly responding to Wars)

Wars cares about and respects Wild, but it seems Wild wants nothing to do with him, and he's been cold towards Wars for the majority of Lu. To Wild, Wars reminds him of his perceived failure. Which is valid feelings, but still not fair. And I think that ask is talking about these two.

The thing I love about this is each of them are right and wrong in some ways, leading to the tension between them. So fully blaming either of them is not logical

The rest of the chain is just vibing. Except twilight who's mad and wants them to just grow up, but. Heros of courage not wisdom @uniquevoidflowers ;)

And that ask- '''Are any of the Links ever jealous of another Link for adventures that were less difficult/life threatening?'' ''When you hear Wild say he 'hates' someone you'll have your answer.''' somewhat leads to my next point-

Wild's identity and memory issues exacerbate all of this

In Entrance, Twilight is being stressed and defensive, that's ok. What concerns me most is that Twilight has talked with Wild through stuff like this in his rough moments

Wild has tried to be formal several times- he is not very good at it

Four's face I can't didnwidkekfjej

Wild isn't and can't be 'him'- the same 'perfect' (<actually has crippling anxiety) knight he was before, and Twilight knows this. And I agree with him a bit, I think, that Wars is making things worse in Wild's mind by being that perfect soldier, and seemingly holding Wild to a standard he isn't

Wild's attempts at saluting is symbolic of that- Wars makes him feel like a failure trying to be the person he should be. But Wild shouldn't be anyone but himself.

Anyways. Fire.

Wars and Wild have issues, and I want them to work through all their relationship drama so they can reach their PEAK dynamic, which is obviously this

I mean like. We need these two to be friends

Anyways. Wild is in this constant state of identity crisis, and being around Wars has not been beneficial- neither of them is or has been showing the other the respect they deserve. Not as knights, but as people and brothers. They need a get along shirt.

All this Art is by Jojo @linkeduniverse au!

:)

[blizardstar]

Me when Ashton Greymoore is denied honorable and meaningful self-sacrifice, and now must face the reality that they MUST keep living after it’s All Over

[mikansei]

from the trailblazer's perspective:

we met some weird guy who wears a statue on his head, who was kind of a dick to us, but then we went on a little entomological field trip where he was oddly encouraging. surprisingly nice to us afterward for all that he literally interrogated us first. but herta runs around as a doll and we're plenty weird ourselves, so dr. ratio is whatever, i guess. we probably think of him as "that weirdo who was on the herta space station once," which is an association i'm sure he'd hate - but hey, at least we don't call him "scholar king."

from the trailblazer's perspective:

we met some flashy IPC guy because we accidentally held him up in line at the hotel check-in, himeko tried to negotiate and it turns out he's a professional cutthroat negotiator, but it all worked out and he gave us his fancy room. he also loomed over us with freaky glowing eyes and maybe threatened us, but it was kinda vague and it's not like he really hurt us. well... until he did. the trailblazer gets the opportunity to be verbally sore about that, but the fight didn't really feel like cocolia, like phantylia; like aventurine had gone mad and wanted to take over and/or destroy the world. his grandstanding didn't make any sense to us at the time, though, and fighting him sucked ass. but we lived and - as we found out eventually - so did he.

then the trailblazer boards the radiant feldspar, and we see aventurine's hologram talking with ...boothill? okay. who explicitly says they're working out some kind of shady underhanded deal to find oswaldo schneider which, subtlety thy name is not boothill, but that's none of our business i guess. but aventurine's there(-ish) and alive and not cackling mad, which is an improvement.

then we go into the next room over and see that herta space station weirdo, dr. ratio.

huh???

and the first thing he says to us is "no wonder that gambler likes you so much."

huh???????

everything about this is news to the trailblazer. since when is dr. ratio not only on penacony, but in the dreamscape, aboard the exclusive invitation-only dream cruise ship? since when does he not only know of aventurine, but was apparently on this mission with him? since when does aventurine like us??? we just got done mutually trying to kill each other! his hologram didn't seem sore about it, which is great for us, but doesn't exactly translate into "like!"

why are we hearing this from him and not aventurine? why does he know aventurine's thoughts on us in the first place?

dr. ratio really just shows up, yaps about aventurine unprompted, recommends us reading material, complains about the crowd and then is like "k i'm done here. ur dismissed."

the trailblazer had bigger things to think about but i, the player, do not. the fandom at large may feel like 2.3 fell flat, but the fall of the roman empire is still within the wheelhouse of my roman empire. i never left the radiant feldspar. i am still aboard this fucking ship.

[front-facing-pokemon]

[raycatzdraws]

ribbonwood

[broareweabouttoviberightnow]

Pony and Soda are both angry criers. Soda doesn't mind so much. He's the gangs bawl baby. And truly? he doesn't even mind that title anymore. none of them say it like it's a bad thing. he gets mad, he starts crying he moves on n keeps it going. but Pony? he HATES it. he KNOWS what he wants to say. he KNOWS why he's angry. and he IS. he's not sad or mixed up he's just FRUSTRATED and for whatever stupid reason it makes him cry and it pisses him off to no end.

[lesbianherald]

Hi! Just curious. What exactly is that you didn't like about Viktor's arc? I've seen a few people saying the same thing and idk if I'm missing something or I'm just too over the moon about him that my brain has gone smooth haha.

oh no oh no i'm probably going to write like a whole dissertation about this I am so sorry I'm literally cracking my knuckles I have so many thoughts and not all of them I'll even get to articulate here.

Saying this upfront: you aren't smooth-brained for disagreeing with me or liking it. I want to say that outright as I'm a very opinionated person and I am going to state my very strong opinions very plainly.

That being said : I genuinely feel like season 2 needed like... character writing 101 for a lot of these characters, especially the two characters whose names start with a 'V'. I'm so serious if one of my students brought in a story like this, I would (gently) take it apart.

If you don't want to read the whole thing I'm about to unleash, the crux of it is this for me:

Throughout the course of the season, it's very hard to discern how many of Viktor's decisions are his own. He lacks the baseline autonomy that's necessary for satisfying development. The magic of the hexcore becomes a shiny distraction that makes meaningful development impossible. Additionally, season 2 forgets so many of the themes and threads they explored with Viktor in season one explicitly in terms of class and his position on war and weapons manufacturing.

And, like almost everything in season 2, these issues are compounded because his story is done at a pace that's completely lightning-fast and prioritizes the wrong things.

Here's my thesis:

How Does a Man Like Viktor Become the Machine Herald? Arcane's Answer: Magic orb or vague sadness or something idk.

Harry Lloyd said in a season 1 commentary somewhere that one of the main appeals for Viktor is knowing who he is in the game and wondering how you take a man like him, who is so kind and has people's best interests at heart, and see him slowly become the machine herald.

I agree 100% that this is part of the story's appeal for players. And it would be a delight and surprise for non-players.

We... get that very juicy premise ripped from us. We don't see him making decisions grounded in the character they set up in season 1 at all, really. And its very unsatisfying seeing him be rendered a mere victim of circumstance with vague attachments to his past self.

This is not necessarily a complaint about arcane herald vs machine herald (I did not play league and am not attached to the lore) but a complaint that a lot of what happens with Viktor in season 2 seems very unattached to his psychology.

Christian Linke himself said (and I forget where, so I am sorry if I'm paraphrasing terribly) that part of the question he wanted the audience to ask with Viktor is how much of this is really him? Bluntly. That is incredibly silly. It's such an important question that it makes all other interesting questions one might have about him really hard to parse.

That's not compelling. That's a mistake. That's not rooted in character anymore but a vague magical orb.

Here are some questions that would have been more interesting for us to ask, Christian.

How does his desire to tamper out human emotion prompt him to do the unspeakable? What leads him there?

How far is he willing to go to take away human pain and suffering?

Is his version of pacifism really, in actuality, a form of violence?

Will his connection with others be enough to bring him back to his humanity? (this is a question we were not prompted to ask, and if we were, it would have made the final scene (which I love regardless) a lot more satisfying.

What is the root of his hunger for power? How much of his quest is a hunger for power and control over others (rooted in a fractured and tragic sense of self)? and how much is it rooted in his desire to help? Where is that line?

Any of these questions or any other questions we could enjoy exploring with Viktor become tampered with and weakened by the fact that a vague magical entity is controlling him in a vague and unrelatable way.

In short, 'How much of Viktor is still Viktor?' is a far less interesting question than. 'how is Viktor going to act, change, and learn? ' We are forced to ask the first at the cost of the second. He clearly is not fully himself this season.

The Dropping of Themes and Traits

Season 1's exploration of Viktor was multi-layered and fascinating. I feel like we got to see the establishment of a kind-hearted, sometimes awkward yet quite funny, passionate scientist.

I don't feel we see much of any of this in season 2. The stupid fucking orb overrides a lot of the traits we've come to know and love. This would have been cool if done with an ounce of care, understanding, or autonomy.

In season 1, we see Viktor in a position of powerlessness over and over. We see Viktor ignored and looked down upon by those in power both for his disability and, crucially, for his status as a Zaunite.

We're introduced to him as someone who is desperate to prove himself and carve a place for himself. He knows he's brilliant. And he knows he can help people with that big brain of his. That's all he wants. And he wants to make his mark (something I theorize is rooted in his loneliness as well as his ambition)

(Side note: I find a lot of the debate on whether or not Viktor is insecure a little silly because you can be both confident and insecure. He's incredibly secure in his abilities as a scientist, but I fully do believe he places all his worth on his work because he's not as confident in other places - represented visually by him trying to point out his boat when Sky is looking at him in the flashback. A 'don't look at me look at what I've made' type thing.)

Anyways. Viktor is willing to risk his position as an assistant and, honestly, his position at the academy and in Piltover as a whole to help Jayce. This is not just because he's 'lol so chaotic' or whatever. This is actually quite calculated. He knows he will get nowhere in Piltovian society without bending rules, because Piltover was not built for people like him.

"Do you think it was my life's ambition to be an assistant?"

But even in taking that huge step for himself, his new role is complicated.

We see him sit through meetings where his people are talked about like burdens. We see his closest (and honestly only) ally and partner speak over him in meetings and overrule his desires and wants when it comes to the future of hextech in massive ways. We see Jayce call all Zaunites 'dangerous' (I love jayce... don't shoot me please. But we do often forget that this does canonically happen and what makes Jayce so incredible is that he grows from this point)

The moment on the bridge directly causes him not to tell Jayce about what he's doing to himself. Jayce apologizing right after doesn't matter so much as it reinforces one of Viktor's fears: he is alone.

We see his illness, !!!!caused by Piltover's oppression!!!!, take over. We see him and Jayce grow apart. We see the way his loneliness impacts his desperation and the way his desperation impacts his loneliness and we see the way he's so damn afraid and just wants to live. We see how much he wants to help people, and how even though he's tried so hard he never got to achieve that because the limits of this society just don't allow for it.

Season 1 Act one is Viktor taking action for himself. season 1 Acts 2 and 3 are a brutal reminder that no matter how hard he works. No matter how hard he claws. He will always be who he is. And that makes him Powerless in this society. I honestly find it a really compelling storyline in terms of the 'bootstrap theory' and debunking that - but a different topic for a different time!

At the end of the season, he's able to gain a huge amount of power - speaking at the council about freeing his city - through Jayce's platforming and allyship. But at the end of the day it doesn't matter, because what the council is doing is too little too late - people in Zaun are too tired and too hurt - and he gets caught in the crossfire.

Despite all this, Season 2 does not engage with Viktor's being a Zaunite outside of the fact that he returns to Zaun first. But the themes explored related to class and power are gone - as they are with everyone else really.

It makes sense to me that one of the first things Viktor would do when granted a new body and new power would be to go and try to help people in Zaun, but the ambiguous mechanisms of the magic inside him, the immediate divorce with Jayce, and the bizarre way he goes about it don't make this land.

And even the return is rendered sort of meaningless. Where is the personal connection to this place? Why are we given no details related to his past here? Why doesn't he return to somewhere more personal for him?

He speaks in this cold, unaffected monotone. This healing ability seems to be the 'recursive impulse' - so him finally getting to help people just like he wanted feels rooted so much in the arcane influence it becomes murky and strange.

This is more nitpicky, and I'd be okay with it being ignored in the right context - but another aspect of his character that gets dropped is his work as a scientist. His desire to help people not through magic, but through invention. This would have been fascinating. (They try to keep this alive through vague allusions to 'look at what I've created' blah blah but again, so much of it is all ORB)

What inventions would a fully autonomous Viktor who decided to leave Jayce and return to Zaun of his own fruition create? Would they toe the line between inventions of progress and inventions of destruction?

Guess we'll never know!

Speaking of weapons. Let's talk about weapons. Let's talk about Viktor's vehement opposition to weapons not being explored within the context of his relationship with Jayce or outside of the rule that there are none allowed in the commune - which becomes quite meaningless when he agrees to work with Ambessa. Yes - he saw those blueprints on the table. But that's all we get.

Also, the fact that Jayce just unquestionably builds hextech weapons in the finale, and they're used as a good thing and a way to fight off Noxus, makes me want to claw my own hair out. Like - my themes ! Not my precious themes !

Let's also talk about him working with Ambessa. There's no build-up to that decision, not near enough character work to make that believable and considering the way the plot is written elsewhere, I fully believe this is a huge part of the problem of the writer's room dropping the issue of class. The idea that Viktor, the character that they set up, would ever willingly work with Ambessa is laughable. There are so many other ways he could have gotten to the hexcore in his fully evolved form, easily bested Jayce, and evolved. And they did absolutely nothing in the writing of season 2 to make that an interesting or satisfying choice.

An arc is only an arc if there is substance between point a and b. There's no substance here. There's vague orb. There are little glimpses of the pain he's in because of his separation from Jayce. Teeny tiny allusions to him trying to shut down his emotions. That's simply not enough.

You cannot bring a character who values choice and autonomy, whose been made to feel so powerless and is empathetic, to "choice is meaningless" without a deep study of his psychology and pain. Viktor taking away the autonomy of others, inhabiting their bodies. Being super chill with it. Okay. Coo.

Where does his desire for evolution even come from? For real? Because they seem to mistake Viktor's ambition with his desire for perfection, which is something that was never really... brought up? It could be believable that he felt this way. But where were the signs of this? Not just in season 1 but in season 2. He always wanted to help, not make humanity perfect. Because this is grounded in so little emotional logic I assume we're supposed to be satisfied with the idea that magic orb + machine herald form = ??? this ??? like ??? why???

If he wants to create a world where nobody can feel pain or complex emotions of any sort anymore, which is not psychologically where he was at the end of season 1 at all despite all he went through, you have to give us an event (ideally multiple) in season 2 that could break his mind this badly. Jayce killing him could have been this, but it happened so fast and was executed so impersonally that it doesn't work. He doesn't really acknowledge it happened the next time they see each other. Which... would probably be important to do... again emotional logic where?

His entire speech about humanity at the end of episode 6 feels like it's trying to be a catalyst. But it also feels... incredibly generic and impersonal. It felt written to play over a flashy montage of all the other characters fighting. Not for Viktor. If this was Viktor's moment where he finally snaps, we should probably focus on Viktor. And, of course, it doesn't help that he has this odd monotone this whole time, as if he's not fully in control of himself (this is not a rip on Harry Lloyd at all. He did what he was told and did it very, very well.)

Because remember. They wanted us to ask this. They wanted us to ask how much of this was orb. I think because they knew on some level they could not create a compelling enough story to get viktor where they wanted him to be for some reason without orb. That none of this would make sense without the vague spice of the arcane. And guess what it still doesn't.

Becuase people will not relate to a vague arcane influence. Connect to it. We would want to see what actually in his life made him become this. What in his psychology outside of magic orb made him do this? They provide vague tastes of this in the same way La Croix flavors its drinks.

Brought Back Wrong Can Work: Here's Why This One Didn't

I also really hate the trope of killing off characters only to bring them back. And back again. And... again. Because guess what. It takes one of the core elements of the human experience - death- and cheapens it. This for sure happens with Viktor the second time he dies.

But what i do like about bringing someone back from the dead is when you consider how doing so can bring someone back wrong. Or changed.

But because the orb is so impersonal. So bland. Such a vague sinister force that has very little to do with character, it doesn't... work. It doesn't hit. Viktor doesn't really grapple with being brought back from the dead against his will in a meaningful way.

Timing

You can see concepts of a plan, if you will, within this story. I can see how Viktor would naturally go to the undercity after waking up changed with new healing powers. But it happens way to fast. So bizarrely. I can see how he would build a society like this (of course, the power of that is dulled because orb and by the fact that we don't see it happen). I can see how the pain of being rejected and left behind by the only person who made him feel like he wasn't alone (Jayce) could have lead to a category 5 'make me evil' sort of meltdown.

Becoming the Herald, asking Singed to begin the transformation, is the only true time in this show in act 2 (before his final moments) where it feels like he's making a choice for himself. But again, we get so little time with him. To see his emotions. To elegantly point from that moment with Jayce to Viktor's need to transform and in doing so rid himself of emotion (something that they did not expand on enough ) Like oh my god, how much more satisfying would it have been to see Viktor torn apart by his own emotions - in his own viktor way - and to have singed offer him a way out of his pain - and then have viktor take it. There are certain things that should be obvious.

But It's both the timing of and the structure of the story - how quickly we cut between plotlines - that makes this really hard to follow. That makes moments that could be something feel rushed and sloppy.

Let's Talk about Sky

Viktor's guilt over sky was absolutely reasonable to explore, but it was not.... all that haunted him. To make Sky the sole guide/companion to him in the astral/arcane headspace I found to be a bizarre and honestly kind of offensive choice.

Amanda overton said she was used as a "Jayce substitute" essentially. And... why? Literally why. Why would you write a character whose sole deal is having an unrequited crush on a man only to bring her back to be 'the embodiment of his guilt and loneliness' as well as a 'substitute' - it feels... icky to me? Just in a writing women and especially women of color point of view? And it didn't feel true to Viktor's character either.

I think if we actually got to know sky better in season 1, this would have worked because it would have been obvious how different she was, how she was a product of his mind or the hexcore or whatever (the lore being vague here doesn't help...)

Plot Twist because I keep hating on Orb: They Could Have Made The Orb Really Cool

Here's the thing. Magic influence on its own can be used to write extremely compelling plots. Walk with me.

Imagine Viktor wakes up. Immediately knows something's wrong with him. That something inside him is toying with him. Making him see things (visions of not only sky, but maybe his parents, Jayce, Heimer). He wakes up earlier in act 1. Despite his anger, he stays with jayce in order to better understand himself and his powers. All the while, he is haunted by whispers and visions of the hexcore. What if it whispers to him of his own insecurities and failures?

What if Things with Jayce are tense. Jayce has to admit to making weapons again, in an argument leading to more haunting visions from the hexcore offering him an out: emotional numbness. You would never have to feel again Viktor. If you let me in fully, you would never have to be alone again. You'd be more powerful, Viktor.

Imagine Viktor is there during that attack ambessa orchestrated. That he has the horror of witnessing Jayce wield his hammer in a genuine attempt to defend himself and the people he loves. He sees first hand how hextech is being used for destruction in a way that horrifies him.

Imagine him being accused of being a part of it because he's a Zaunite - humiliated in some way. Publicly. Imagine the emotional trauma of this resulting in a falling out so devastating he embraces his visions of the hexcore - gives into the numbness. And only then leaves. With the hexcore... he feels better than he has in years. He hopes he can give the gift of this to others. Now he is under orb influence, but now the way he's gotten there is more satisfying to me at least.

Now imagine him fighting the orb influence in key moments. Imagine the color in his eyes coming back. Imagine Viktor's relationship with the arcane being more of a dance than a vague entanglement. Imagine its influence haunting him in the same way Jinx's visions haunt her. Imagine it being personal rooted in his character.

Old Man Viktor

Listen. I am the old man Viktor connoisseur. I love him. I love the idea of him. I wrote a whole fic about him, during which I had to spend a lot of time with the story. It's sort of... very much impossible to make much sense of?

I'm not mad at the fact that it's an obvious retcon. Honestly, because I think from a storytelling perspective, it worked a lot better than most of the decisions they made this season.

But I'm not a fan of (shocking) how little time we spend with him. How little chance we get to understand his motivatons. And also. What the fuck he said to Jayce to make Jayce's first line of action killing him? In my fic, I made it that Jayce needed to shoot Viktor to get the hexcore out, so he could communicate to viktor without influence. But that felt like heavy lifting I shouldn't necessarily have to do for something so important. It also doesn't feel like a compelling or satisfying question to make your audience have to wrestle with.

The Final Scene

Want to say upfront I am not one of the people who did not like Jayce's speech.

I was quite moved by it. And aside from the perhaps out of place mention of the illness brought on by Piltover which I can understand the criticism for, I felt it was beautiful. (I am disabled btw)

That being said. I think i'd be a sobbing mess on the floor if the themes Jayce is presenting in his speech were more present throughout season 2. Because we really don't see this enough - the desire for perfection.

I'm also not one of those people who thinks Viktor's insecurities weren't present in season 1. To me, they were and were obvious, but not enough in his motivations and actions in season 2 to make Jayce's speech land like it could.

I really loved Jayce's arc in season 2. Him immediately embracing Viktor after he woke from the goo was surprising but felt right. But I wish they had more genuine conflict rooted in their conflict in season 1 that would allow their final moment to land even harder.

I really liked the final scene, and it made me an emotional mess. But weirdly, I'd almost like it as a short film removed from the context of the season two, which says just how little Viktor's arc this season contributed to the moment.

Final Thoughts

I'm so sorry I went so in-depth. I just love him as a character and feel he was very much not done justice.

We can attribute some of this to the lack of time. But when you know you have a lack of time, you need to write with that in mind instead of trying to do it all. And ultimately, I found a lot of scenes this season a waste of precious time. They had so many characters alone contemplating something intangible or alone and trapped for episodes. They didn't plan this with the care and precision needed to pull it off.

I also want to note that I know I say here a lot that there's a lot they needed to make "more obvious". This is not because I'm stupid. But when you're a writer, you need to know what to highlight and what you can leave vague so you leave your audience exploring the right nuances and asking the satisfying questions.

Anyways umm. The end. Holy shit, I'm so sorry I wrote so much.

[shower-phantom-ideas]

Danny as Fenton takes a hit that no human boy should survive while in a different city (im going crossover here) and just transforms into phantom and pretends to be all sad that he died. Just for a moment. He then proceeds to kick the baddies ass. Claims he got ghost powers and fucks off. Imagine if Captain America or Batman saw this while failing ti protect him, hell or any hero type. Danny doesn’t think much on it and just goes on with his week. Continues being Fenton of course but what if he runs into whatever hero, but out if costume, saw him do that.

“How are you here? And alive?”

Danny holding a smoothie:”uhhhh I made a miraculous recovery”

He just shrugs it off and goes about his day. It isn’t until he finally gets some sleep later that night that he wakes up in a cold sweat realising he now knows their secret identity. “Oh well it’s neat I guess” starts to go back to sleep only to bolt back up “oh god now they know my secret identity”

Meanwhile said hero is too busy trying to figure out how to help this random kid to even be worried about the fact that they outed themselves. Someone else probably points it out to them and has to explain it twice before it gets thru.

[azureblooet]

Ok a concept for the “sif is out” au:

What if Siffrin starts… not remembering, but adjusting?

Every loop Mirabelle speaks up in the corridor to go find the switch, but eventually…

They start stopping before she speaks up.

He starts finding the keys just a little bit faster.

He doesn’t remember but his body starts to. Some part of him starts adjusting with each loop.

“I mean he hardly has a memory to begin with so why would wiping it reset him?”

Or at least that’s what Loop explains it as.

It’s convenient at first, but…

He starts remembering how cold the party has been.

He starts avoiding eye contact with Odile.

They jump at Mirabelle’s voice sometimes.

He starts avoiding the observatory room.

Folding in disagreements faster.

After countless loops everyone notices that Siffrin starts one level higher now.

He’s smiling more. But there’s something wrong about it.

Everyone notices when he smiles at the mirror for the first time.

They just assume it might be a tiny remnant, not much to be concerned about.

They notice that his face stops changing, the smile remains.

Stock still.

Practiced.

Then…

He stops comforting Bonnie after they snap at him one loop.

[ Siffrin got the memory of Something! They shouldn’t remember this.]

[ When equipped The rogue may find things faster! Guess the loops can’t catch everything~]

[puppppppppy]

id fumble him so bad

[tealclover]

Sometimes, it's really easy to see who raised Tails.

This sassy little kid takes too much after his big brother.

Normally, he's quite polite! But throw Eggman into the mix, and you get this.