#i like how gray some of the characters are despite it clearly trying to appeal to teens

[n7punk]

So I know you don't watch Arcane because of the violence but uh...what do you know of Caitvi...

been sitting on this for a bit (a month who's counting) because Considerations were happening but now im here to announce not to mention arcane to me for 5 business days (i have all the words muted to minimize spoilers but i do know about the uh. Scene) because!! i am now watching arcane courtesy of my Arcane Guide™️ who I'm watching arcane with live so she can tell me when to look away, brace for something, or just straight up fast forward. i'm really loving the show and i would not be having this good experience without her because yeah, there's a bunch of stuff in it that's too much for me as someone who doesn't handle gore or just gross stuff well (even animated) and she'll summarize what i missed or just tell me that yes, the person on screen is in fact still the same character they're just younger here XD there's so many flashbacks my face blind ass would honestly be so confused without her lol. im obsessed with vi i love her so you'll know when i finish it because suddenly a lot of gifsets of her are going to start getting reblogged lmao

[genericpuff]

What do you think about Reachel's new redraw?

I feel like the characters look good but the background is too gray compared to the original one 😕

It's pretty rough, ngl. Not even necessarily because of the art itself, but because it's not a panel she should have ever redrawn to begin with.

The whole point of that scene was to showcase Persephone bringing life into the Underworld, a place where only death existed, but in this redraw it completely lacks that messaging, resulting in a scene of Persephone and Hades simply hugging each other in the dark with very dead-looking foliage surrounding them.

On a structural level, the composition has gone from vertical to horizontal, giving us way too much empty space around them which, again, is failed by the background being so dull and lifeless; Persephone's somehow become even smaller; and worst of all (though I'm sure some people will think I'm overreacting) her hair isn't tucked up in Hades' arms anymore, it's just sort of falling perfectly over his shoulder as one solid goop of pink, strangely changing shape as if it's resting on something but there's clearly nothing there.

That said, my opinions should be taken with grains of salt because I also have a lot of personal beef with a redraw like this - that original panel was my phone background for like, 2 years, and the episode it came from is still one of my favorites of all time in spite of all the criticisms I now have of the series, with art that originally inspired me to want to learn how to draw like Rachel.

There's been a lot of evidence over the past year or so to suggest that Rachel has "fallen out of touch" with her own work and these redraws that she's been making lately feel like tangible proof of that. The context in which she created those original panels no longer exists so to try and redraw them fundamentally misses the point of why they were so iconic to begin with.

I can understand that feeling of falling out of touch with your own work, to the point of not even seeing the appeal of it yourself anymore, but that's all the more reason to keep moving forward, not back. The fact that she's still just muddling around with LO stuff despite announcing two more projects and seemingly not making any progress with either the TV show or Rachel Smythe Presents... it really does seem like she's stuck in limbo. The deadlines and contractual obligations aren't there to motivate her anymore, and while that may now have freed her from the burden of creating LO in such a cramped and unhealthy space - now being able to create it simply for herself - I think the years of working on it have definitely taken its toll on her ability to create the way she used to and so we're seeing those growing pains now.

The real bummer about it is that it's being celebrated as "growth" but it's about as much growth as the illustrated environment above - dead and bleak.

[therewasatale]

his scars

On Ao3.

Summary:  Each Lord had their own rules, and you have broken Lord Heisenberg's.

Note: I saw a bunch of fanarts with Heisenberg having a lot of scars, so I played with the idea.

Each Lord had their own rules. Which if their servants did not follow, they had to pay a heavy price.

Rules like that; you must not go to the lower levels of the factory alone. If Lord Heisenberg said something, you had to do it without question, especially for your own safety. And if you visited his private room, you always had to knock before entering.

You’ve always followed two of them. However, your attention slipped over the last one as you hurried out of the elevator to Heisenberg's room. At each step, you could feel the slow, rhythmic thumping of the factory from behind and below you as the various machines and tools worked non-stop. Every click, tap, or squeak has become as familiar to you as your very being.

Pulling closer the book you got from him a month ago, you tried to gather your thoughts about what you wanted to say. You'd have never thought a darker fantasy would appeal to you so much. It had a mystery, a bunch of different, but still interesting characters, and an oppressive background that the story slowly began to bring to light by the end of the first book. The ending was open for a promising sequel.

And you entered his room. Without knocking.

Inside, the smell of thick tobacco and oil rushed your senses.

"Heisenberg, I brought back the book! And imagine it's already-"

"WHAT IN THE LIVING HELL DO YOU THINK YOU'RE DOING?!" He yelled.

You froze in place in the doorway. The sudden shout shook you up completely and you gripped the book tighter in your hand so you wouldn’t drop it.

Your gaze was immediately drawn to the man, as he was standing by the bed.

Heisenberg's shirtless upper body was covered in a myriad of thin scars, like cobwebs across his entire body. Starting at his neck, they ran down his chest all the way to his waist, and probably continued under the pants. The scars on his arms were gnarly, from long healed injuries, which were most likely the results of fights. However, some of those on his chest were too straight and clean to come from an accident.

"Get. Out." He didn't look into your eyes. Objects trembled around him. A knife rose into the air from his desk. "NOW!"

You didn’t look back when the door slammed close behind you. Not when the elevator was already climbed up a few levels. And not even when you got to your own room and threw your back at the door. You felt like a hand was wrapped around your throat and it began tightening its fingers, ever so slowly.

Long minutes passed and yet you still felt as if your heart was trying to break out of your chest. The only thing you could clearly hear besides the beating of your heart, was your own panicked breathing.

"Shit..." you slid down with trembling legs. You had to wrap your hands around your body to try stop the trembling.

It was over.

You broke his rule. And now he's going to kill you, if you're lucky, he will make it quick.

Each Lord had their own rules, and now you have broken Lord Heisenberg's. Like a stupid fucking kid.

"Shit!"

You were aware of the fact that the people in the Dimitrescu castle disappears and got replaced very often, and you were really surprised how different Heisenberg was from what you imagined. He shouted a lot and swore even more, but he never tried to hurt you, even on his worst days, he just grumbled impatiently and vented his frustration on his machines.

He was loud, but understanding in his harsh way. Impatient, but still a good listener on his good days. He was rough, but you knew he cared about you, in his own grumpy way.

You were happy. You enjoyed living here.

But now...

Now you had to get out of here.

The sudden thought helped to clear your head with such force that you have managed to get on your feet. You didn't want to die. You didn't deserve death for a complete nonsense.

You had to get away.

Heisenberg waited while as the elevator started upwards.

He didn't even have to move his hand. The knife spun around its axis then it slammed into the wall with tremendous force, then again and again and again. It didn't stop until the blade bent from the force. His fingers trembled, bolts and gears threw themselves around him in all directions. The legs of his bed buckled as the springs in his mattress straightened, pierced trough the material and then snapped and shot themselves into the ceiling.

"Fuck!" He grabbed his dirty-gray hair and pulled it hard enough so the pain would clear his head a bit. He needed to calm down before he smashed everything around him. The bed creaked behind him, as two of its legs finally gave up and fell to the ground with a thud. Then there was silence again. This snapped him out from his blind anger.

He shut his eyes tightly. Letting his shoulder sunk, he took a step back and threw his back against the cold wall. He needed to take a few deep breaths to slow down his pounding heart.

When he opened his eyes the first thing that caught his eye, was a scar running through his forearm. He clearly remembered getting it in a fight against a bunch of lycans. Years ago, when he started constructing his factory the territory of the lycans stretched all the way to the area where the main building would be. At the time, they didn’t even know who they were facing and sometimes they ventured through the fence. That evening, Heisenberg did not expect them in such numbers, let alone that they will attach wooden spears on their arm to counteract his powers.

With a sharp exhale he lowered his arm.

Those creatures became what they were thanks to Cadou. Technically, they were all related. He took a deep breath, knowing it well that these thoughts didn’t help and were not important right now.

He gave himself a disgusted look before he got dressed. When he buttoned the last button on his shirt, only then he let his thoughts wander again. An unpleasant feeling settled into his chest.

You saw him. And now you will run away.

It was over.

He knew that the body he had to live in was utterly repugnant. The body which was experimented on by Mother Miranda, conducting studies and surgeries until she was satisfied with it. The body she put the parasite in and which cursed him with this fate. He hated her for making him this way, and he hated himself for being her child.

He still woke up time to time drenched in sweat from nightmares where he has been implanted with the parasite over and over again.

It spread throughout his body and turned his existence into pure hell. His thoughts burned away by the eruption of the unbearable pain, he felt as if his chest would open up and his heart would tear itself out of its place. However, the worst part of it all, was the realization that something was trying to subsume his consciousness. Claws tore into his brain and tried to suppress part of his being. It was almost successful, but Heisenberg held on.

And when he woke up after the procedure, he found himself in a whole new hell.

You were the only thing, along with the constant building, that kept him happy day by day, and helped suppress his raging hatred. On the worst days he still could felt the Cadou trying to making its way into his head. But you always were there to help him, or at least, you tried and he was grateful, even when he didn't say anything.

He knew full well that this would not last forever. Because why would it last? In this godforsaken horrible place everything fell to pieces and rotted apart eventually.

He took out a cigar from the depths of his coat.

He didn't want anything; he didn't ask to being like this. And yet you stayed with him. He had you. But now, you saw him.

The bitter smoke slowly rose from his lips.

Everything was over.

 Hours have passed. Night arrived, or just the tiredness told you that.

You thought about running away again and again trying to figure out how, and when you should do it. The first thing you thought was that you had to find a way to do it as soon as possible. The elevator was an option, but you would have risked running into Heisenberg, or, more dangerously, into his servants. He could send them after you at any time.

It was risky.

Or there was a ventilation system that weaved through the factory. You could use that, though you were afraid of getting lost inside of it forever rather than getting out. Escaping trough, the dumpster promised only similar chances.

You even started to think that maybe first, you should talk to the man. Or at least try to talk to him. Though your reasonable-self protested profusely against this emotional suggestion.

However, your pride also spoke up and somehow, it made you stay. You're not going to run. Not anymore. Not from him.

So, you waited.

Sitting on the edge of your bed, you hoped you would have a chance to talk to him. You just couldn’t decide when to go to him. Every part of your body shivered as Heisenberg's angry voice echoed in your head. You had to go to talk to him, but you were simply unable to leave your room, at least for now.

Fortune was on your side for once.

Your door opened slowly. You felt your shoulders tense up and you swallowed dryly. You couldn’t look up at him.

"I thought you would have left already." His voice didn't sound as harsh, as you would have expected.

You glanced up at the man who was leaning against the doorframe. He folded his arms in front of his chest, his eyes were hidden behind his black sunglasses.

"Why should I leave?"

"Well," despite his words his voice sounded surprised "I yelled at you."

"You've yelled before."

Heisenberg snorted a little and rubbed his hair under his hat. This didn’t go as he thought it would. "Well yeah, but..." his words let him down.

"What happened to you? I mean your body…?" You got up from your bed. He was just a few steps away from you.

The man drummed with his fingers a couple of times on his arms. "I fell."

"Heisenberg..." you took a careful step towards him.

"Lord Heisenberg." He corrected you. "If my bitch mother is forcing this prestigious bullshit then we should keep to it." He sounded more annoyed than angry. He continued to drum slowly with his fingers, but you could also feel his eyes watching you from behind his glasses.

"I'm sorry that I didn't knock."

For long minutes, the only thing could be heard was the rhythmic thumping background sounds of the factory.

"Well...Yeah..." He scratched his graying hair slowly as he pushed himself away from the doorway. "Listen, if you want to go, then go. I'm not going to stop you, just don't ever comeback. All right? Have a nice life, or whatever. That giant trash is actually looking for new maidens," He turned around.

You managed to stand up and hurried after him stopping him in front of the elevator.

"What?" Heisenberg glanced down at your arms as you hugged him. "(Y/N)?"

"I'm sorry." You snuggled closer to his back, hiding your face in the fabric of his coat.

"For what?" His hands shook, he had to stop himself from touching your arms. The thought made him tremble a bit, but he realized that you were trembling too. You were so close to him, he could felt your body against his, your finger griped into his clothes.

"For not knocking. And not saying sorry. And for not trying to talk to you." His coat smelt like tobacco and oil, just like everything around him did in this place. For you, it felt like home.

When he didn't answer, you spoke again.

"I don't want to leave. I'm sorry."

There was another quiet minute. You were about to let him go when he finally found his voice.

"Are you sure? But you saw me." He carefully caressed your hand with his fingers. "You saw what that bitch did to me."

So, you were right, those wounds were too straight to be from some kind of accident.

With your eyes closed you enjoyed the gentle touches, as he run his fingers along the top of your hands, and then slowly moved up on your arms as well. He slowly relaxed between your arms and leaned closer to your body. Even his breathing became more even.

When he sighed, you let him out from your hug and stepped beside him, looking up at him "Come with me, Lord Heisenberg." You gently took his hand and pulled him after you. heading back to your room.

"Hm?"

"I need some rest, and you too. And I'm sure you've destroyed half of your room."

Heisenberg pulled down his hat into his eyes. Damn.

"Why would I have done that?" Oh, for the love of god, shut up you, idiot! He snorted to himself.

"Because you care about me, just as much I care about you. Come." You pulled him all the way to your bed. Turning towards him you took off his hat and glasses.

"Mh, what?" His tired eyes looked straight into yours.

"Your eyes are really beautiful."

"Oh shut up." Stepping next to you, he threw himself on the bed.

You never dared to ask why you got a bed which was big enough for two people. Whether someone owned this room in the past, or the man had some kind of plan for you. But right now, as he leaned back to the bed, you haven’t really found a reason to worry about that. Climbing next to him, you hid under his arm. Leaning your head against his shoulder, you sighed deeply.

"Well, I hope you're happy."

"Very much, thank you."

He snorted and listened quietly to your steady and calm breathing as he tried to ignore his own pounding heart. He fervently hoped you wouldn't notice this. This hope was unfortunately false considering that you were only a couple of centimeters away from his heart.

The redness spread through his face even more so than before.

He didn't imagine this could happen. You shouldn't have been here anymore. You should have gone to the village a long time ago and not looked back. You should have left everything...and everyone behind.

Instead, you were here. And you laid next to him so damn close. His skepticism struggled against the notion.

Like anything would just become magically fine after this.

"You know, you can't fix me with cuddling, right? I'm messed up in the head and even more fucked up in my body." He swallowed dryly.

"What are you talking about?" Raising your head, you looked straight into his eyes.

"I just told you." He let out an impatient huff. "You can't fix me, I'm this fucked up. And it won't go away after some warm cuddling and snuggling. Sorry to ruin your hopes."

"I don't want to fix you, Heisenberg."

"What?" Every answer of yours caught him off guard.

"Why would I want to fix you when I like you this way?" You leaned closer, slowly kissing him. His body tensed, you could feel his grip tighten on your shirt, then his lips gently kissed you back. The kiss tasted bitter, like his cigar. He pulled you closer and didn't let go until you yourself pulled back.

Looking into his eyes you smiled gently. "Besides, I've been here a long time, so I'm pretty sure I'm just as messed up in the head."

"Damn." His grey eyes almost sparkled. "God damn."

You let him pull you closer, snuggling up to his shoulder.

"So, we're messed up together."

"Pretty much, yeah. But somehow it doesn't bother me."

Heisenberg was sure by then that you could feel the pounding of his heart, but he didn't mind it now. He gently caressed your face with his fingertips from your forehead through the line of your nose all the way to your chin. He spent a lot of time under your eyes.

"Listen, I know she did something to you." You placed your palm carefully on his chest. "But your body isn’t scaring or disgust me." You gently caressed around his heart trough his shirt. "It's your body, it belongs to you and I like it. I mean it's yours and it's fine."

"Mh," he replied tellingly.

His heart finally started to quiet down. Good. He needed to think with his god damn head and not with his heart. Everything happened differently. For hours he believed, no, he knew, that you have already ran away. He wanted to give you time, that was one of the reasons he didn’t come after you for so long. And yet, deep within him he felt he can't just let you go. Who knew what he would have done if you would have told him to his face that you are leaving him? He felt as if his whole world started to tremble.

It was as if you could feel what he was thinking you snuggled closer and rubbed your head against his shoulder.

The man sighed softly.

But you stayed. You were here, and you were honest. Maybe he could be a bit honest too.

"Sometimes, I dream that I'm just a machine myself." He gently played with your hair. It was a long time ago when he touched something this soft. "That I'm lying on one of Mother Miranda's experimental tables, and when I look down at myself I see nothing but gears and bolts that work together inside me. It's not my body anymore, I lost my real one. Then I start to lose my mind as well. And she just watches me, every damn time. Calling me his son. " He rubbed his face into his hands.

Raising your head a little you laid it back on his chest, listening to his heartbeat.

"What are you-"

"Sh."

The man snorted, in confusion and embarrassment.

"Hm, all I can hear is your flesh heart beating in your chest. The rhythm is pretty fast but maybe because of the many cigars."

"Oh, shut up." He hid his face in his hands and tried to rub the crimson of his face away.

"All right, all right." You snuggled back to his shoulder. "Still, I'm not going anywhere."

"You can be a stubborn bastard sometimes."

You chuckled, clearly proudly and as you embraced him a smile remained on your face.

The room around you was filled with the sounds of the thumping factory. It felt comforting. Your heart started to quiet down as you let your consciousness relax from the rhythmic noises around you two. His hand drew gently circles on your shoulder.

"Can we stay like this for a while?" You asked, what he didn’t dare to ask.

"Sure." He pulled you even closer and buried his face into your hair. He seemed to relax even more. He raised a finger, and his sunglasses slipped off, levitated under his coat, and raising it up gently laid it on the two of you, before it landed itself on your nightstand with a small clink.

"Thank you." You muttered as you gently drifted towards sleep.

"Yeah-yeah." He kept his face hidden in your hair.

You won't leave him, at least not now. Maybe you will actually stay with him, maybe you were stubborn enough to do it. He ignored his worries about the future, instead, to his own surprise, he let himself be happy for once. He slowly fallen asleep with you on his side, listening to your breathing.

[pomefioreundergroundlab]

The "Different Anon" here again. I'm with the mods about the TWST characters. One of the reasons why I love this game so much is that the characters feel very real and are rather complex. They are mostly based on villains, but they all have good aspects about them. The Sunset Savannah characters drink their Respect Women Juice. Jamil cares deeply about his family and didn't want to hurt Kalim. Vil and Riddle both want to bring out the best in those under their care, even if their methods are questionable.

They remind me of the the Dregs (the Six of Crows) characters in that regard. May I remind some people, Kaz Brekker ripped out a man's eyeball to protect Inej and he murdered someone who was trying to take advantage of a sex worker. But at the same time, Kaz cares a lot about his teammates and has a moral compass.

(Also, I highly recommend any TWST fans to read Six of Crows/Crooked Kingdom by Leigh Bardugo. Those books carry a lot of the same postive qualities as the TWST series. There's also the Netflixs series, which also has Ben Barnes as Darkles...I mean, the Darkling.)

Seeing the TWST characters being stripped of that nuance would be a huge downgrade. They're fine as is. Hell, if anything, seeing them being reduced to pure evil outside of the odd yandere fanfic is super annoying to me due that stripping away those aspects.

You get it, anon. the boys are very complex, and psychologically real, despite the usage of magic in TW universe, and them beiing sorcerers or not human does not rob them away from their real , complex psychology.

Who's to say if they are based on villains, then they must be villains, as well if they are based on heroes, then they must be heroes? Like in the original Mahabharatha, Arjuna is clearly the hero despite his own more gray actions, but FGO, particularly the India Lostbelt , make him the villain, despite he's still complex, but his actions and personality (read: hatred to karna) makes him a villain. Similarly, James Moriarty is clearly the villain of the original Sherlock novels, but the manga Moriarty the Patriot (it's even in the title ) makes him a hero, the liberating-rebellious kind, even if still morally grey.

This is not even getting into those JRPG-based shonen mangas where the "hero" is an asshole, and the "demon lord" turns out to be nice, or those isekai shoujos where, the in universe "villainness" just wanted to survive, when the "heroine" becoming entitled precisely knowing she's the supposed "main character of the story" and wants everything, that, it's whole genre on it's own.

I also personally recommend the Persona franchise to fellow TWST fan. it's a story about teenagers face a lot of their identity issues and becoming better by facing their darkest sides who takes form of grotesque , twisted (heh) version of themselves, who gaslights them for their weakness. It's psychological horror, yes. Also, persona doesn't start from 3, just note.

Exactly, stripping the boys from their personality rubs them of what makes them unique, even Malleus , whom certain part of his personality/character design/traits is indeed based to appeal to the "prince charming" fantasy, he also have a lot of traits and issues to define himself.

I get it's because the western audience have been taught that morality is simply black and white, or they simply want to escape the truth the world and people is complex, , it still doesn't make it right because, the boys are morally grey, real people are morally grey, and that's just how it is.

-Mod Drace

[bunnys-beetlejuice-blog]

come on in, folks, i got some kind of goof ass Beetlejuice/Evil Dead crossover for you to enjoy.

He’s eighteen, and it’s Saturday, which means that he and Lydia are wandering around Manhattan, looking for trouble to get into. Lydia, eleven and ever his little shadow, is standing next to him, as they take a moment, on the busy New York street corner, to sip their boba and think about their next move. They were meant to be watching some horror movie that had looked alright from the previews, but ended up being so stupid, it wasn’t even fun, and the Deetz siblings had found themselves walking out, one hour poorer but a bucket of overly butter saturated movie popcorn richer. “I still can’t believe how bad that was,” Lydia says, again, huffing, because they’d actually paid money to see that stinker, instead of sneaking in, which is their usual habit. “Ya get one big name attached an’ everyone apparently stops givin’ a shit. Musta figured th’ droolin’ masses would eat it up,” he agrees, and he slurps up the last of his tapioca balls, and then proceeds to eat the plastic straw. “Is it too much to ask that characters actually be interesting, and, I don’t know, behave like normal human people?” Lyds bitches, as BJ takes a bite out of his cup, too. She glances up at him, dryly. “I mean, I guess maybe my standards for normality are low, but still.”

He grins at her. “Whatever could you possibly mean, sister dearest?” he puts on a posh, almost transatlantic accent, and she rolls her eyes, and sucks boba up in her straw, then shoots the pearls at him like a pea shooter. He snorts and laughs.

It’s a good day, despite the letdown at the movies. It’s nearly that time of year, just about the start of his seasonal depression, as the sun becomes shy and things go cold and gray. Still, there’s some time left with the sunshine, so he’s drinking it up, savoring it, and it feels good, to stand here with Lyds, and talk about nothing. “Alright, come on, let’s second act it,” he grins, and she perks up. “I think Wicked’s playing!” “Wicked’s always playin’.” “Well, I’m not sitting through Hamilton, it’s a Saturday. I’m not learning if I don’t have to.” “Totally fuckin’ fair. Music Man, maybe?” “Hugh Jackman’s weirdly brick shaped head freaks me out.” “There’s gotta be a show we can sneak into,” BJ frowns, scratching at the scruff of his chin, and then he catches a scent he’s never smelled before, as Lydia puzzles through their remaining options. It’s like death, sort of, but not. Like death warmed over, or death, refried. He takes his sister’s hand, and leads her away from the street corner, following the smell, nose in the air, pupils blown wide, and Lydia laughs. “Great, time to go poke a dead thing. That’s more fun than The Last Four Years, at least.” She’s seen him go like this before, and thinks she knows what to expect.

Neither of them know how to react when they follow the scent down an alleyway and see the violent fight happening in front of them.

Parked at the far end of the alleyway is a car, some 70’s make that he doesn’t know enough about such things to name, and between it, and the Deetz siblings, is an one handed man absolutely going feral on a group of three refried dead smelling zombie… things. “Deadly-vu,” he hears Lydia whisper, as they watch the man perform a scissor kick that sends a zombie head flying. It bounces like a basketball against the brick wall that makes the alleyway, rolls, and lands at the Deetz sibling’s feet. There’s a beat, as they stare at it, and it stares back, before the head on the ground opens its mouth and speaks. “DEMON!” it shrieks, and then it makes the life ending choice to roll at Lydia, teeth bared, and his boot is going through it, crushing through the skull like an overly juicy bug under his heel. He takes a second to wipe the gore from his sole onto the pavement. “Maybe Wicked could be good,” he turns and says to Lydia, who responds by ducking behind him, because the body the head formerly belonged to seems to be stumbling at them, clutching something in it’s boiled and infected and puss covered arms, and it thrusts the thing at BJ, before falling down and collapsing into dust. It’s a book. Some kind of creepy old demon book, from the look of it. He wrinkles his nose in vague disgust, and then takes a sniff. If the zombie things are refried death, this thing is a whole fucking Mexican food buffet of it, and it makes his head spin in a way he’s never felt before. He kind of likes it. He’s about to give the cursed reading material a tentative lick before a boom rings out from in front of them- the one handed man has pulled a sawed off shotgun off his back, and dispatched another corpse thing. There’s one left, and it’s circling the man, who by this point is so blood covered, he looks like he was tricked into being prom queen, or something.

“Is it just me, or do you freaks just keep gettin’ uglier?” the man quips, and the corpse lunges, a stumbling move which earns it the butt of the shotgun to the jaw, which goes flying. The zombie is shot through the gut, and drops, but is a twitching, squirming mess. BJ’s seen enough horror movies to know that thing is getting back up. The stranger has apparently, too. He takes a moment to reload the shotgun, then double taps, blowing clean through the thing’s skull. He blows at the slightly smoking barrels of his sawed off, twirls it, and holsters it, re-slipping it onto his back. It’s a pretty cool move, actually, and the siblings watch in rapt attention. It takes the three remaining people (well, two people, one demon,) in the alley a moment to actually focus on each other, and there’s silence, before the stranger speaks. “Uh,” says the man, covered in blood, and Lydia peaks out from behind BJ, and stares at him, with big eyes. “Kids,” he hears the man mutter. “Great, just what I need, a coupla kids, gettin’ in my way.. Hey, kiddies,” he says, louder, with a smile, which might be really charming when he’s not soaked in rot and blood, but the effect at the moment is not as sincere and friendly as he clearly thinks it is. “Looks like you two little heroes managed to wrangle my book away from those deadites. You wanna do your pal Ash a favor, and hand it over?” He makes a “come here” motion with his stump arm, and then seems to realize that’s not so appealing, because he tucks that appendage behind his back, worried, suddenly, about scaring them. As if a man with a missing hand is the weirdest thing they've seen in the last five minutes.

“What the fuck,” Lydia says, and BJ can’t help but agree with that sentiment. Also, he feels a vague sense of sudden responsibility for this weird old tome. It doesn’t exactly seem like the kind of thing a human should have. Maybe those zombies… deadites? Maybe they were trying to get back what was stolen from them. Though he’s not charitable enough to assume that they’re the good guys in this feud. The stranger, Ash, takes a careful step forward. “It’s alright,” he says, like he’s talking to a wild animal he’s trying to tame, and not a teen and preteen, respectively. “I’m not gonna hurtcha. Just need to get my book back.”

A sudden screeching wind roars down the alleyway, and both living humans react, ducking, as it bellows and swirls around them, kicking up dust and trash and chunks of leftover deadite. “Demon! Aid us!” BJ feels a presence in front of his face, something he can’t see, but a great, ancient something, reaching out to him, demanding, begging, pleading, for him to assist in whatever macabre goal it wants to meet. He responds by sticking his unglamoured tongue out at it. “Ewww, gross. No.”

The thing shrieks again, and makes a beeline for Lydia, which is just about the stupidest thing it could have done, because he drops his glamour fully and snarls, gives the ancient being a psychic push back, and he sends the thing that cannot be seen flying, out of the shady darkness of this alleyway, past what he assumes to be Ash’s car, and out onto the city street, into the sun. It shrieks and moans and curses him. He flips it off, as it dissipates. The vibe in the air, however, tells him it’s not “dead,” just gone.

Ash straightens up and looks at him. BJ’s already slipped his human disguise back on, so the effect is that Ash has just seen what seems to be a slightly too pale and definitely overweight human teen somehow push back an ancient evil, totally unaffected. Now it’s his turn to let out a confused, “What the fuck?”

“Come on, BJ!” Lydia grabs her big brother’s arm and pulls him away, running from the gore and the confused zombie slayer. “Wait, kids-!” Ash rounds the corner, after them, but the Deetz siblings are already gone, disappeared into thin air, flash stepping the span of blocks in the blink of an eye, and they don’t stop until Lydia, sick from the teleportation, gives his hand a squeeze. They appear on a rooftop, confusing and traumatizing some pigeons that had been roosting.

“Wait, why did we run?’ BJ asks, and Lydia looks at him like he’s a moron. “Because that guy was clearly a monster hunter! And kind of really good at it!” she says. He mulls that over, and smiles. “Worried for your big bro?” he bats his eyelashes at her, and she responds by slugging him in the gut, which he reacts the barest amount to. “Last thing I want is to explain to mom and dad how you ended up with a shotgun blast through your skull,” she says, and crosses her arms, before leaning forward, to study the book he’s still holding. “So. What is that?” He grins. “Wanna open it an’ find out?” Read the rest of the first chapter here!

[elizabeth-mitchells]

the only touchstone of truth

Chapters: 2/? Fandom: I Care A Lot (2020) Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Fran/Marla Grayson Characters: Marla Grayson, Fran (I Care A Lot) Additional Tags: Canon Compliant, Canon Lesbian Relationship, Origin Story, Canon Backstory, First Meetings, First Kiss, First Dates, Getting Together, Morally Ambiguous Character, Illegal Activities, Eventual Smut, Flirting, Partners in Crime, crime wives

Chapter 2:

There was something different about Marla that day. She wasn’t bored, she wasn’t idly waiting. She was waiting, true, but only because that was part of her plan. Standing behind her counter, her shop more or less back in shape, she wore a different blouse, higher heels, and a smile that sharpened, even more, when somebody came in. Marla sent a quick nod to Curtis, who had instructions on what to do. He pulled out his phone and walked away toward the storage room of the place.

“Marla,” the man greeted her with a perfectly polite and respectful tone that already started to crumble on his second sentence, “I wonder, what on Earth are you trying to do?”

“Mr. Nelson, I have no idea what you’re talking about,” Marla replied, “It’s a pleasure to have you visit us.” What an honor to have you millionaire, corporate, chain store, ugly ass step on my broken dreams physically this time.

“You cleaned up the store,” he sighed, looking around as if to take a hold of his emotions.

This promptly reminded the blonde of the couple of hours she spent with Curtis destroying her own shop and then putting it back together again. In the upcoming years, Marla would learn just how far she was capable of playing dirty, and many would accuse her of being unscrupulous, among worse adjectives, but nobody would ever dare call her lazy, that was for sure. With or without morals, Marla was an extremely hardworking woman, and she wasn’t afraid of getting her hands dirty, for better or for worse. A practical habit that she cultivated during her days of playing fair, and kept, for some reason. Most likely because idleness simply went against her nature, and she had promised herself not to rest until she achieved her goals. 

“We did, yes. Lots of hard work,” the blonde nodded, “such a shame what happened.”

“Such a shame,” the man echoed the sentiment, speaking on autopilot, but when he focused his eyes on Marla again he was all ice. “You’re accusing us of doing it,” he said.

Purposefully, Marla gave him a deep shrug and another shark-like smile. “I believe it’s the police who marked your company as suspects,” she replied in a mockingly innocent tone.

“We didn’t do it. And the accusation is bad publicity for our business. Drop the lawsuit,” he ordered, his voice starting to shake just slightly. When Marla only shook her head slowly, he scoffed. “You’re nothing, Marla Gray,” he seethed, “Your little business is over. Why would we try to boycott you out of all people? You’re not even competition. Drop the lawsuit.”

“Grayson.”

“What?” he was still laughing with a combination of awkwardness and annoyance.

“My name is Marla Grayson,” she stated using the full power of the commanding nature that she knew she had, “and I will fight for this shop until the end.”

He scoffed again, clearly losing his patience. The man walked to the door of the store and back to the counter once, twice, until he calmed down and not quite looking Marla in the eyes, he offered, “Twenty thousand dollars, and you’ll drop the lawsuit.”

“No,” Marla denied it immediately and before she could fully think about how offensive the offer was, he continued.

“Fifty thousand, Marla,” he said, his face red and his voice trembling. It was a pretty number that put Marla at a crossroads between the attempt to feel offended and the impulse to just ask for more. Either way, that number would not do. She only tilted her head and her expression said it all. “A hundred thousand dollars, dammit! Final offer!”

At this point, Marla made it a point to pick up her vape pen and look as bored as possible. “Please get out of my store, Mr. Nelson. I’ll see you in court,” she concluded.

He shook his head, he was breathing heavily and wildly waved a finger in her direction. “No! This is not over,” he protested, “How dare you say no to me?! I’ll make you regret it, you know?” He made a pause and after seeing that his threat did nothing to disturb her, and in fact, she only exhaled the smoke in a terribly irritating way, he slammed his hands on the counter right in front of her, “Dammit just take the money!”

“I will not,” Marla fumed back at him, barely letting show a hint of her patience running out.

“And you better stop screaming.”

Both Marla and her unwanted guest hastily looked toward the door of the shop. There was Fran, casually leaning against the doorway, not so casually showing off her plaque. At first, the man didn’t even move from his place. But Fran let out a quick whistle and said, “This aggressive visit will not look on your case, Mr. Nelson.”

Finally, the big store owner groaned loudly and without even sparing either woman a word, he stormed away from the place for good.

This quick turn of events left Marla and Fran alone in the shop. Marla stayed behind the counter that she managed to handle like an equivalent to a throne, and Fran took a couple of effortless steps forward until she stood in the middle of the place, directing a small and easy smile at the other woman.

“I must say,” Fran started to say, “I didn’t expect to receive this ‘Marla needs help, come over right now’ text from a number, I assume, that isn’t yours.” She waved her phone once for emphasis.

“Personally, I don’t usually give my number to strangers,” Marla replied, earning herself a chuckle from Fran, who looked away for a second, but when their eyes met again, Marla was sincere as she said, “Thank you for coming, by the way.”

Fran nodded, accepting her gratitude without making a big deal of it. This gave Marla an opportunity to study her again. Fran looked similar to what she did that night showing up to the shop after the staged attack. A ponytail holding on for dear life to wild hair that just begged to be freed, a more or less regular detective’s outfit that most likely wasn’t designed with the purpose of fitting Fran’s curves so scandalously well on every single right place. And then there was the way she simply stood in the middle of the store with immeasurable confidence. Nothing to hide behind, nothing to lean into, just her in an open space without any issue with Marla’s eyes glued to her. She wasn’t standing there like she owned the place, not exactly. It looked like she couldn’t care less about ownership, but her world consisted of only her, and she didn’t care enough about any authority to give them the power of deciding if she belonged or if she was out of place. Fran carried herself as if the rest of the world’s ideas of right or wrong were mere suggestions. Nothing sounded more appealing to Marla.

“You weren’t exactly in trouble though,” Fran contemplated, reluctantly breaking the silence, “you looked like you had it handled.”

“But you did scare him off,” Marla grinned.

“And you didn’t take the money.”

“Do I look like someone that would have taken the money?”

Fran laughed, because they both knew the answer to that question very well. She walked forward until she could lean her arms on the infamous counter, not quite in front of Marla, just a little to the side. “Maybe you should have,” she finally mused, “this might be bigger than you, gorgeous.”

This development in their interactions came with considerable consequences for Marla, who had underestimated the effect it would have on her to have Fran again standing so close to her. She wouldn’t back down though, she wouldn’t lose her higher ground, but she couldn’t deny the fact that Fran shook her to her core in a magnitude previously unknown to Marla. She couldn’t come up with a reasonable answer until it was obviously too late, so she stayed silent, picked up her pen, and after taking a drag she left it on the counter. This seemed to spark Fran’s attention, who had previously been content to just study Marla’s face from up close and during the daylight.

“So, are you going to offer me one of these,” the brunette wondered, lightly tapping with her fingertip the tip of the pen standing between them, “or a coffee… a drink… should you at least walk me to my car?”

“I will… walk you to your car,” Marla decided, after a quick and not exactly pleasant assessment of the situation. There was nothing she’d love more than to take Fran’s hand and either lead her out of that damned store or guide her to the other side of the locked door of her office. But there were already smoke signals in the air between them that she couldn’t ignore. This could be dangerous, this was possibly great, this was certainly bigger than either of them was accustomed to. Marla was stunned by the undeniable fact that she wasn’t sure how to handle Fran, and equally as unsettled but no less excited about the fact that she had no idea how Fran would handle her. She had no doubt they could handle each other, but until she felt completely confident in a perfect plan of action, she would have to see for how long and how much she could feed this ferocious and inexplicable fire that was burning between them.

As they approached Fran’s vehicle, Marla made two statements. “I will not take the money,” she said, followed by, “and that’s not a car.”

Fran winked, “My mistake.” She leaned back on the motorcycle and focused her attention on the blonde in front of her.

“I’m taking that asshole to court,” Marla managed to say, despite that unexpected and entirely alluring image of Fran standing just like that. She should have known that even the safest option among all that the brunette had offered would still come with a trick to test Marla’s hesitant boundaries.

“For something you did?”

“I’ll have to close either way,” Marla rolled her eyes, “He took me out of business. I have to take something from him. Something big.”

Fran tilted her head. “Do you have experience in court?” she wondered.

“I’m confident I can manage,” Marla smiled.

“Of course,” the other woman chuckled. “Though,” she added, “if only you had… an acquaintance, who happened to be knowledgeable in the shady alleyways of court and would be willing to give you a hand.”

Fran was barely done with her word when suddenly Marla was almost on top of her. Marla had moved quickly and swiftly, standing impossibly close to Fran, somehow not touching, but if any of them were to so much as breathe a little harder than usual their bodies would meet in all the right places. Which was maybe the reason Fran was suddenly holding her breath. Marla had placed both hands on the bike, on either side of Fran’s hips, trapping her in place, while holding her face just inches away from the other woman.

“What do you want,” Marla slowly asked, “Fran?”

“Why do you assume I want something?”

Being softly hit with Fran’s breath on her cheek was an unexpected consequence of Marla’s plan, but she held her ground. Very deliberately, one of her hands moved slowly and confidently to one of the back pockets of Fran’s pants. The brunette, to her credit, her only reaction was a noticeable clench of her jaw, but she stood still while Marla pulled out her phone and mercifully stepped away to let both of them breathe a little easier.

“Unlock it, I’ll save my number,” Marla held out Fran’s own phone for her and proceeded to follow through with her words. 

Fran got her heart rate almost back to normal as she watched Marla quickly tap the screen, and deciding the only right thing to possibly say at that moment was to answer Marla’s question, she said, “Give me a percentage of the money you’ll make with the lawsuit. So I can finally quit the police.”

Beyond pleased with that answer, Marla bit her lip for a moment then returned the phone. “And here I thought you were just trying to have dinner with me,” she said to Fran right before walking away from her, but not before looking back just in time to catch the other woman staring, and adding a final smile she threw over her shoulder, “See you soon, Fran.”

[starbuck]

All of Armitage’s Looks: Rated

Well, this was inevitable, wasn’t it? Being someone who very readily admits to having Armitage’s entire wardrobe memorized (and who will not apologize for how weird that is), I feel that I’m the perfect person to make this post, although perhaps not the most objective...

So, without further ado, allow me to present to you: every single one of Armitage’s Looks in chronological order: Rated.

#1 - Enjoying The Birthday -- 11/10

Unlike most named characters, Armitage does not appear until episode 4 but oh what an entrance it is... Look at that smile!!!! Actually, take an extra good look because you’ll never see it again. 

Outfit-wise, this is just his normal steward uniform but I like those boots. Probably not unique to him but they’re very nice and remind me of a pair I own. 

Bonus points for being the second person on the tackle-pile, following Tozer. 

(You could accuse me of rating too high right off the bat, but look at his smiling face again and tell me I’m wrong.)

#2 - “Mr. Armitage, what do you report?” -- 8/10

And thus we are introduced to Armitage by name. Appropriately, he is partaking in his most consistent character-defining activity: protecting Tozer from harm (which, in this case, is the Not-Bear which has just come out of nowhere and ripped part of Heather’s skull off).

I’m gonna be honest: I don’t like how this style of coat looks when it’s fully buttoned-up. I think it’s awkward and boxy (see Gibson’s coat in the mutiny-planning scene at the beginning of ep 7 for a better idea of what I mean) and this is before Armitage figured out the belt trick that corrects the problem so I’m deducting points for the coat.

Luckily for him though, his hat is of my favorite variety in the show so I’m delighted to see it despite it just being his uniform. Also loving our first look at his blue sweater (peeking out beyond his coat-sleeves) and his gray gloves.

Further points added for this being the first of many scenes where he carries a gun, endlessly confusing the fandom at large about what the hell his job is. 

#3 - tfw You’re Responsible For This -- 5/10

So I’m just gonna come right out and say that this is one of my favorite images of him in the entire show but, just as Look #1 was rated higher due to the context of the scene despite the outfit itself being average, this one’s rating, in turn, must suffer. 

Things I love about this: the hat (obviously), the fact that the coat looks worlds better just because it’s slightly unbuttoned, the delicate dusting of snow, the way his face looks at this angle.

Things I don’t love about this: literally Everything Else.

Aiding in the racist kidnapping of an innocent woman and then not owning up to it twenty minutes after your introduction is not a good look, no matter how emotionally conflicted about it you are.

#4 - Who the Fuck is This Guy? -- 6/10

October 20th, 2019 was not the day that my obsession with Armitage began, but it was the day that I took a screenshot of this exact moment because I had no idea who this man was or why we were getting a close-up of him. It would take me two more months to figure his identity out.

But, to the point, not much to say here since it’s just his normal uniform again except that this is our first proper look at his hair which I absolutely adore. Also loving the little anchor buttons on his jacket - very cute!

Once again, points deducted for the unfortunate context.

#5 - Slops! -- 7/10

This look is noteworthy for a few reasons. First of all, we see his tan slops for the first time! Slops just sort of look horrible by default unfortunately but I’m enjoying the hat + slops combo here... it works for him. Secondly, Armitage disappears for the entirety of episode 5 so this is the first time we’ve seen the man since the lashing scene. I guess it was so traumatic to witness that he had to take a break. 

He has a gun again though, so things can’t be all bad.

#6 - Big Carnivale Hours -- 8/10

I have given up on trying to figure out what the hell is going on with the marines and their costume theme. Are they knights.... with crowns? That’s all I’ve been able to figure. Who’s idea was this? (Despite having no evidence, I blame Pilkington.) So what does that make Armitage? Is he a squire? Or a knight that just doesn’t have a crown like the others because they ran out of them? Whatever the case, he’s clearly a part of their theme despite not being a marine himself which I think is adorable regardless.

Speaking of adorable, let’s just forget everything that happens for the rest of this episode and appreciate how he’s hanging out with Tozer and Heather. Isn’t that nice? God I’m distressed.

Taking a look at the costume itself, you’ll see that it’s essentially a cut-up burlap sack and a sheet over his regular uniform but realism is not the goal here and the DIY vibe is actually quite nice imo.

#7 - Enter: The Belt -- 10/10

The belt has arrived on the scene! Note its success in not only making the coat itself more appealing but making the coat + slops combo work against all odds.

We really get it all here: belt, (unbuttoned) coat, hat, welsh wig, gloves, and slops! What more could I possibly ask for in an outfit? It’s both stylish and practical.

And plus, I like his attitude in this scene - optimistic-leaning realism about the dangers ahead. I can get behind that.

Overall, no complaints from me - this is a perfect look.

#8 - tfw You Allowed This -- 7/10

This is a Significant Look mostly because we see his hair again, for the first time since episode 4! It’s a bit longer and more unkempt but still maintains a pleasing shape overall. Honestly, I think it looks good this way and its a pity we didn’t get to see it more in the transition stages (assuming it was steadily growing out since ep 4 like most people’s). Additionally, there’s a bit of stubble going on here which I respect.

Rated lower than it might be simply because, as has been established, slops on their own are just kinda ugly. I don’t have a lot to work with here outfit-wise. His face is lovely but this screenshot is a sepia-toned nightmare.

A bonus point for his desperate “please explain this clearly illegal thing we’re doing in a way that makes sense to Little” glance at Tozer, who is already on it.

#9 - Agony -- 8/10

It took me awhile, even after becoming aware of who Armitage was, to appreciate how truly miserable he looks in this scene. And I mean, why wouldn’t he be miserable? Tozer, a man who Armitage risked his own life to drag to safety at Carnivale, is about to be executed for something that’s arguably just as much Armitage’s fault and there’s not a thing he can do about it.

So... that’s depressing.

But, looking at the outfit itself, we see that it’s pretty similar to some past Looks. In fact, it’s identical to what he was wearing when the Tuunbaq attacked Heather with the exception of the belt which is, of course, a new addition since then! And look at the difference a belt can make... You almost don’t notice that the coat is buttoned up all the way.

#10 - The Same Outfit But Now He’s Saving Tozer So Its Cooler -- 9/10

Y’all ever think about the fact that, when things went to shit, Armitage’s first instinct was to grab a gun, find Tozer, and rescue him? I mean you probably don’t but I do. Constantly. 

Obviously I love this part and the outfit is still solid (note how well the belt shows off his figure!) but it loses out on being a perfect 10/10 because he must have dropped his hat while picking up the gun so we never see it again. A necessary sacrifice but one that I mourn nonetheless. 

RIP Armitage’s cool hat, ??-1848.

#11 - The Blue Sweater -- 8/10

It’s warming up so that means we finally get a look at the lovely layers that have been hiding under Armitage’s coat. It’s important to me to bring special attention to the sweater because, although (as I’ve mentioned) he has it on all the way back in ep 4, this is one of only two scenes in the entire show where we get a proper look at it. 

Further, not only is he wearing the blue sweater, but he also has a blue vest on over it! Now, I’ll admit, these aren’t exactly complimentary shades of blue but it still works for me. 

Note also that the belt he had around his coat has been repurposed to aid in holding up his slops-pants over his normal pants (which are held up by the suspenders). Does this man’s resourcefulness ever cease?

As much as I’d love to give a higher rating for the blue sweater, I can’t ignore the new beard which is... it isn’t... it’s Not Great. I don’t have as much animosity towards it as I used to but I can’t pretend that I love it.

#12 - Let Us Fly These Deadly Waters! -- 9/10

I’m not sure why but I’ve always found this outfit very appealing. The tan slops-pants go nicely with the white shirt and blue vest. It’s a solid look - I’d wear this irl honestly. 

And bonus points for his trying to convince Tozer to leave Hickey, even though he was ultimately unsuccessful. 

(P.S. - yes, the title for this one is a Moby-Dick reference... Did you really think I would make it through this entire post without one?) 

...and now, last but not least, I present to you my absolute favorite Armitage Look™... all the other times I said some other outfit was my favorite, I was lying because what I am about to show you is truly the cream of the crop. Without further ado:

#13 - Kidnapping is Bad So At Least Look Good Doing It -- 12/10

Are y’all seeing this? Are you SEEING this????? It is episode fucking 10!! Everyone is dying!!! And yet here’s Armitage waltzing up in his best outfit of the entire show. What the fuck!!!!!!! 

Do I even need to explain why this is exceptional? Just look at it! Look at how the vest is buttoned up and tucked into his slops-pants! Look at the suspenders over top which match the slops-pants in color! Look at the gun and keyring that look like they were made to accessorize this outfit specifically! Heck, even his hair and beard look much better from this angle.

Now, I’m not trying to discount the fact that Armitage was absolutely miserable throughout this entire episode, and understandably so, but, even with that in mind, I can’t bring myself to rate this look any lower. It’s just That Perfect.

If one must inevitably die horribly in the arctic, this is an excellent outfit to die in.

__ 

Well, that’s that! Thank you all so much for reading and I hope you enjoyed this! I’m glad that my ridiculous opinions about Armitage’s wardrobe finally came in handy for something other than my own amusement. 

[dreamsinger-rose]

Reply to @somuchflippinglitter’s commentary of my TWT Branch’s Character Growth Post

(Did anyone notice how often we see Branch in monochrome in TWT, basically Gray Branch again?)

Hi! @somuchflippinglitter I’m actually happy to see such a long, thoughtful post. You make some good points, and there are other points that, if I may, I’d like to explain my reasoning more clearly. BTW this is a verrry long post that I thought would work better as a separate post rather than a reply to a reply.

The original post (scroll through the comments to see the commentary I’m replying to)

https://dreamsinger-rose.tumblr.com/post/616517422712848384/twt-spoilers-branchs-character-growth

Some of Branch’s actions can be seen as out of character, yes. For me, the main one is how much more mature he seems in some ways, such as not acting as sarcastic as in the first movie, but I have assume that he’s had at least a year of being social and developing meaningful relationships with the other trolls, who no longer regard him as the ‘crazy guy who lives in a bunker and still thinks the bergens are out to get us’, because he did turn out to be right. So he has less reason to be sarcastic, and more reason to care what other people think of him.

Yes, Branch was definitely the “love interest” here. But because he was, he was the one person with the influence to make Poppy listen when it really mattered. Also, I guess you could say it was “rubbed in your face”, but then, he literally told her he loved her in the first movie (which could have been friendship-love). I can see two reasons for Dreamworks to emphasize his love-interest status: to clearly tell the audience he’s IN love with Poppy, and to show he’s grown emotionally-open enough to make the choice to confess to her. This also implies time passing and character growth.

I looked up the symptoms of PTSD and he fit all of them, (in the first movie). But his PTSD wasn’t caused by the singing and dancing that attracted Chef to capture his grandma, it was caused by the trauma of her loss and his subsequent guilt and grief. The ‘not wanting to sing or dance’ was a symptom of his PTSD, not the cause itself.

That’s why after Poppy and the others comforted him and didn’t heap blame on him after he confessed how it was his fault his grandma got killed, Branch’s grief, and especially his guilt (and self-blame) lifted, and right afterward we started to see him healing. His symptoms began to subside. That “happy shout” came after his confession, not before. He was able to sing when Poppy needed it, and that broke the no-sing/no-dance block in his mind, and that helped him heal even more.

I personally have been considering Trolls Holiday canon, and TBGO as an alternate universe, since we know both have wormholes and thus it’s canon, ironically, for there to be other versions of Branch. For example Branch’s bed is vastly different in each. TBGO Branch does have the same basic personality as movie/special Branch but somewhat different experiences.

Either way, Branch’s basic personality to me is someone who is guarded and not very trusting and therefore prone to anxiety when things happen that are outside his control, like how he got all stuttery in Holiday “D-did you say wormhole?” The Trolls to Trolls clips in particular gave me a lot to think about, since he acts a lot less confident in some of them compared to his confidence in the first movie. Totally blew my mind that all Poppy had to do to make him cave in (high-pitched voice/submissive body language) was MENTION his bunker, never mind its location.

It’s true that sexiness is in the eye of the beholder, but actually I have some solid scientific/aesthetic reasons for thinking of Branch as sexy. First, Branch’s character has been designed to look masculine: large nose, mouth, hands, feet. Broad face. Bigger teeth, compared to Poppy. Thick hair, which implies virility, something females unconsciously look for in a mate. Also, rather than letting his hair grow random and kind of ragged like the other male trolls, Branch’s hair is always neatly trimmed, which implies good hygiene, which is also something people find attractive. Whether he’s an animated troll or not, he’s been designed to look very male and therefore appealing to those who like guys.

Second, I’ve read articles/studies on body language and dance choreography. The “hip sway/push toward us” in particular is characteristic of someone trying to attract a romantic partner. His open arms are seen as inviting/welcoming, which is appealing. Also, him pointing his toes toward someone, biting his lip, and what looks like direct eye contact are also body language that says “he’s into you”. The eye contact in particular will be seen as attractive because it implies confidence, which is universally considered one of THE most attractive traits for either/all sexes.

So my point is it’s not so much that he’s an animated troll, but that a live human who has similar features (big hands, etc) and uses the same body language and eye contact is going to be seen as attractive by a large number of viewers, who will respond on an unconscious level. The outward appearance – blue-green skin, long ears, is not really what we’re responding to as far as attractiveness goes. Thus, to me, an adult female; Branch is sexy.

So, by ‘acting out of character’, did you mean because he was (selfishly) having fun as he danced to the new-to-him Kpop and Reggaetron music? Or do you mean you thought since he left Poppy that meant that he was being selfish and protecting only himself?

You’re right that he cared less about music than other things, although since he was the one who liked Country music and he seemed to understand the Funk troll’s story on a deeper level than Poppy, it was my understanding that he DID care. The reason he seemed out of character is because despite Branch’s love for Poppy, we have to remember his basic, unshakable core characteristic: protection/defense.

In the first movie, he built a bunker to protect himself. He expanded that protection to Poppy and his friends and eventually Bridget, because he came to care about them all. We assume that he’s now friends with much more of the village. (I take his random comment “Ah, what a troll,” when talking about Legsly as support for this.) So now his entire village is under his protection.

He had to make the hard choice to go protect the village when he knew Barb would be heading there (Barb didn’t know Poppy had the string) since Poppy wasn’t doing it. And he couldn’t make her, he could only try to persuade her, which he did. So he was behaving true to himself. He IS loyal to Poppy, but when she essentially abandons her post to go to the Rock trolls’ home, he has to step up and do what he feels is the right thing, no matter how badly he wants to keep Poppy safe. That’s why I think he’ll be a good king, since he put the welfare of his people ahead of his need to stay with Poppy.

Branch didn’t go all untrusting with Hickory because Branch didn’t KNOW Hickory betrayed them. He wasn’t there when the disguise came off.

In your take on Branch and Poppy’s relationship, it’s true that them not having a “good connection” felt a little too convenient after all the relationship-building they’d had over the past year or so. To be fair, if you were writing the movie’s script and you needed some reason for Branch to get motivated to try to confess his feelings for Poppy, what do you think might have been a better scenario?

Me, I liked the high-five because it was symbolic of the progress of the relationship – no contact in the first movie, trying but unable to get a strong connection at the beginning of TWT and a strong connection at the end of TWT. But yeah, not being able to make contact made it sound like their relationship had backtracked instead of progressed, which is out of sync with all the previous progress we’ve seen.

I would have loved to have seen more “vulnerable Branch”. They probably had scenes like that, but had to cut them to keep the movie short enough. It could have been laziness, I suppose. But if there had been more scenes like that, the movie would have been a romance story rather than an adventure, and kids probably wouldn’t have liked it as much. I hope we get to see some cut scenes on the DVD. (Me, I would have liked the movie to be like a half-hour longer and all Broppy scenes, haha).

Thanks for taking the time to give me your beautiful long reply to my post, @somuchflippinglitter You were very respectful :) and I honestly think analyzing a kids’ character is really important since kids learn a lot about the world by what they see on TV. Not so much the fantasy, but the way people relate to one another. Like, Branch could have tried to take Poppy back to the village by force, but he let her make the choice that she thought was right, while he did the same. Each respected the other. And I respect you.  

[carewyncromwell]

Back with another installment of the POTC AU...and we have entered mermaid (and men) waters, folks. These two lovely creatures are Merman!Kai Williams and Mermaid!Keira Jones, owned by @hphm-brooke, based on their designs here, but with more of the “fishy” look the mermaids have while underwater in Pirates 4! (They look much more like Brooke’s concepts, when they’re above water.) I hope I did your kids justice, cherie! Yes, I know this visual logically doesn’t work at all as neat as it looks, since Carewyn should be drowning if there’s a hole in the ship she can see through: I was stupid and half asleep when I originally drew this, but I went ahead and conjured up an explanation for it for the actual writing section, so indulge me. XD;;

Some LGBT+ headcanons of mine for the HPHM cast are also featured here -- namely, McNully as gay, Skye as lesbian, and Charlie as aroace. (I also personally see Carewyn and Orion as ace/pan and gray-A, respectively. ^.^) Feel free to ignore them if you see these characters differently than I do...goodness knows I understand why plenty of people would want to hook up with Charlie!! He can always be interpreted as demi, gray-A, or just a late bloomer here too, if thou dost prefer. <3

For the previous part of this AU, click here -- for the full POTC AU tag, click here -- otherwise, enjoy! And beware any siren song you may hear...

x~x~x~x

The Revenge was an even more oppressive prison than it was when Carewyn was a child. Charles Cromwell had always been a very controlling, cruel man who only saw someone’s value based on what they could do for him. Even when you were family of his -- or, one could argue, especially if you were -- you were expected to never say “no” to him and to always put his desires over your own. So it was when she and Jacob were under his control way back when, and so it was now that Carewyn was alone.

Interestingly, despite Charles’s clear disdain for Carewyn having become a Commodore of the Navy, he actually seemed very coldly pleased by how she’d grown.

“The Navy may be a pathetic institution,” Charles said very coolly as he strode leisurely in a circle around Carewyn, “but at least fighting in the War toughened you up. You’re strong -- ruthless -- talented in swordplay and willing to do whatever it takes to defeat your enemies. You’ve been taught and trained to kill.”

He stopped right in front of her, his cold almond-shaped blue eyes boring into her as his lips spread into a smile.

“You are far from the weak, bleeding-heart little girl you were before, Carewyn. Before, you could only be useful in persuading other men to join my crew -- now, once we’ve finished at Isle de Muerta...you’ll be able to join your aunts by doing that and helping us with our plunder.”

Carewyn’s eyes, which were the same color and shape as Charles’s, met his gaze head-on with just as much coldness, but with no hint of a smile.

“I have no intention of being anything like Pearl or Claire,” she spat, “least of all by being one of your pawns.”

Pearl made a violent move forward, but Blaise grabbed her arm and gave her a dull warning look.

“Pawns?” repeated Charles. “I’m wounded, child. We are family -- we are blood. I raised you and your brother. I provided for you.”

“After killing both Mum and Dad right in front of us,” Carewyn said very coldly.

Charles feigned an empathetic expression, but it only came across as incredibly condescending.

“Yes -- it was a horrible thing. But your parents thought to abandon the crew, our family...to take you two children away from me, your grandfather, who loves you so dearly. And deserters and traitors must be held accountable -- any good leader knows that. It’s awful that it had to happen...but they left me no choice.”

Carewyn’s eyes flashed with hatred.

“First of all...our parents thought to protect their family -- Jacob and me -- from you. Second, any good leader knows that true loyalty is accrued through respect, not fear. Third, you always have a choice to do what’s right, and you didn’t. Fourth, I will NOT hear you try to tell me that my parents brought their deaths upon themselves when you pulled the trigger. And fifth...”

She took a step forward, aiming to get right up in Charles’s face -- Claire Cromwell grabbed her harshly by the arm and held her back, but Carewyn was strong enough to push herself forward right up into her grandfather’s personal space anyway.

“...you don’t know what love is,” hissed Carewyn venomously.

Charles’s face lost all hint of a smile or warmth, instead becoming oddly mask-like and detached as he considered her. The stillness was far, far more intimidating than his attempts at pleasantry -- it was like he truly felt nothing...like all possibility of persuasion or appealing to his better instincts was hopeless.

“It seems freedom has spoiled you, my child,” he said softly. “I suppose I’d have to blame your brother for being such a bad influence on you...at least while he was still alive.”

Carewyn’s face blanched and her eyes widened. ‘What?’

“Oh?” said Charles, raising his eyebrows in mock concern. “Were you unaware? I thought for sure something would’ve trickled back to you through the Navy. But I suppose if they had told you, you’d have had far less reason to be loyal to them. After all...the pirate who killed him ended up getting a full pardon from the crown, and now works alongside the new Lord Cutler Beckett at the East India Trading Company...a thoroughly prosperous woman, by all accounts.”

Charles’s face again grew much mask-like as he stared down at Carewyn.

“One would never know such a woman could be capable of shooting a man square in the back and then pushing him overboard into the ocean...and just when he’d returned from Port Royal, to find that his sister was gone...”

Carewyn could feel her shoulders quaking. Her eyes had fallen away from Charles and down to the deck a while ago, as she struggled to contain her emotions, but what he said --

It couldn’t be true. It couldn’t be. Jacob, dead -- Jacob, having gone to look for her, and not finding her because she’d gone off to War -- Jacob, being murdered right after he tried to come home --

“You’re lying!” snarled Carewyn, but her voice quaked with pain and grief despite her best efforts.

Charles didn’t answer. Clearly he didn’t think he had to. The silence was infinitely worse than if he’d chosen to mock her further -- it forced her to solely focus on the terrible doubt and pain flooding her chest and making it hard for her to breathe.

Charles’s gaze flickered up to Claire still holding Carewyn’s arm.

“Get Carewyn out of that Navy filth and into some proper clothes,” he said almost boredly. “Make sure to pick something that shows off her assets -- she comes from fine breeding, and we want the men of Tortuga to see that first.”

His gaze then rested on Carewyn again, twinkling with a cruel kind of satisfaction, as Claire yanked Carewyn away. Carewyn fought against her grip, but before she could pull out of it, Pearl grabbed her other arm and, with considerably more strength, helped Claire drag her away.

Carewyn was soon forced into a pair of men’s knee breeches so tight that they felt more like form-fitting stockings than trousers; tall black boots; an off-white sailor’s shirt identical to Pearl’s with such an oversized neckline that her chest was largely exposed; and an R-standard dark red coat just small enough that she couldn’t button it around herself to hide her chest better. Pearl had also pointed a pistol at Carewyn’s neck while Claire applied eye-make-up and bright red lipstick. Carewyn normally wouldn’t have minded wearing make-up -- she may have had to dress like a man out of necessity, but she liked women’s fashion a lot. Under the circumstances, though, it was impossible to enjoy it.

Needless to say, Carewyn was in no mood to take orders from Charles or exchange so much as a word with any member of his crew, whether it was her uncle, aunts, cousins, or in-laws. At one point, one night, one of those such cousins -- clearly very amused by how unhappy Carewyn was with her new “look” -- decided to try to force himself into her personal space, and Carewyn was so disgusted that she grabbed his own pistol out of his belt and pointed it right at his head to threaten him to back off. Rather than scare him, though, the cousin merely laughed.

“Go ahead!” he jeered. He clearly thought Carewyn was too much of a “good girl” to do it. “Go ahead and shoot me. Right in the head, come on -- ”

Carewyn pointed the pistol down at his thigh instead and fired.

BANG.

The younger man collapsed in on himself with a cry as his leg collapsed out from under him, the bone clearly blasted open from how close the pistol had been. Carewyn then gave the pistol a light shake to clear the smoke.

“Seems to me that place is closer to where you do most of your thinking than your head,” she said very coldly. She looked around at the rest of the crew, who’d stopped to watch, and added, “Now, all of you, stay away from me -- AHH!”

She suddenly felt a hand seize her around the neck and hoist her up off the ground.

The younger man somehow was back on his feet again, as if he hadn’t been injured at all. Carewyn’s shock only seemed to make him smugger still, even though his smile was oddly humorless.

“You’re so cute, little Winnie,” he said. “Thinking you can hurt somebody who feels nothing but pain already.”

At that very moment, the clouds parted, to reveal an eerie silver-white moon. And it was in that terrible, paralyzing moment that Carewyn saw why everyone said that the crew of the Revenge was cursed.

It seems that the medallion Jacob had stolen from Charles’s office wasn’t just a pirate trinket. It was one of 100 identical pieces from a cursed chest that once belonged to Cortez himself. Anyone who stole but one piece from the chest was cursed trapped between life and death, unable to enjoy any earthly pleasure -- food, drink, or otherwise -- with their true decaying form only revealed under moonlight. Jacob had taken the medallion with the thought that Carewyn could always sell it if they ever got really desperate for money -- Carewyn had kept it because it was one of the only things Jacob had ever been able to give her before he disappeared, and she cursed herself eternally for the sentiment now. Still, she told herself, it also hadn’t seemed safe to try to sell something that so clearly looked like a pirate medallion anyway -- just about anyone would ask where she got it, and that would’ve opened her up to a million more questions. In either case, that medallion Carewyn had was the last piece that Charles Cromwell needed to break the curse -- and thanks to her fame as the newest Commodore in the Navy, one of her portrait miniatures had found its way into Charles’s hands, revealing to him where his granddaughter had vanished to. And now he had both her and the medallion -- in short, everything he’d wanted.

Charles Cromwell decided to punish Carewyn for her little act of defiance by locking her in the brig. It was a very wet and mildew-stained place -- clearly it had been host to more than a few leaks. One hole in Carewyn’s cell in particular even showed clear blue ocean water -- she suspected that the Revenge had been patched up with quite a few spells to keep it from sinking, over the years. She remembered there was a witch on Tortuga that her grandfather sometimes made deals with -- maybe she’d given him something to keep the sea water from rushing in.

Carewyn could’ve easily broken out of the brig, but under the circumstances, she decided it wasn’t worth it. Not only did she not want to show off all her tricks yet, but the cell door would at least serve as a barrier between her and everyone else, for now. And that was what she’d wanted -- to get as far away from them as she could. Jacob would’ve understood. Jacob had always been there as a protective wall between her and the rest of their family, in the past...

The night in that cell was one of the coldest, darkest, and loneliest of Carewyn’s life. Her heart ached at the thought of Jacob -- of Percy, his face white with upset and terror when she told him to retreat -- of Bill and Charlie -- of Jules. She missed them so much, and yet she knew...she would likely never see them again. Charles Cromwell wouldn’t tolerate her insubordination for long, and if she failed to escape -- rather likely, considering that neither he nor the rest of her family could be killed, at this point -- she’d be murdered just like her parents.

...At least then...she’d see Jacob again...

She didn’t know when or how she’d fallen to sleep, but it was in her sleep, when she was most lonely, that Carewyn found herself again in her and Jacob’s tiny, old house in Port Royal, sitting at the side of her own bed, which currently held a young man with a worn brown bandana around his head, a black eye, and bandages around his arms. He looked up at her, his dark eyes rippling like the darkest sea -- and then, he rose from the bed. As he did, he changed, becoming older, with tanner skin and dreadlocks under an emerald green bandana. Orion didn’t say anything in the dream -- instead he held her gaze, drowning her in it as he gently held her hands in his...

When Carewyn awoke, she found her face wet with tears. Wiping her face clean, she sat awake for a while, revisiting Orion in her mind. As bizarre as it sounded -- just like he had many times in the past -- the thought of Orion seemed to bring her a sense of peace and focus she couldn’t quite explain. And it was for that reason that she found herself singing one of the songs she used to sing Orion to sleep, all those years ago...for the thought of him, if not for the man himself.

Abroad, as I was walking one evening in the spring,

I heard a maid in Bedlam who mournfully did sing.

Her chains she rattled on her hands, and thus replied she:

"I love my love because I know my love loves me.

Oh, cruel were his parents who sent my love to sea,

And cruel was the ship that bore my love from me --

Yet I love his parents since they’re his, although they've ruined me...

I love my love because I know my love loves me.” 

As luck would have it, however, her song attracted some attention. For the waters surrounding the dreaded Isle de Muerta contained merfolk -- specifically a mermaid called Keira and a merman called Kai, who hunted as a pair and had heard Carewyn singing through the hole in the ship’s hull.

“Was that you singing?” asked Kai. He seemed the more sociable of the two -- the red-haired mermaid behind him called Keira was staying at a distance.

Carewyn rested a hand beside the hole, trying to peek out at who was speaking. She couldn’t see them very well, but from what little she could see, they didn’t look like how she’d always heard mermaids described. They appeared human enough on top, of course, but she could see scales on their faces and there was no white in their eyes. Kai had one completely brown eye and one completely blue eye, while Keira had completely blue.

“Yes,” said Carewyn.

“I could hear the longing in your voice,” said Kai. “Like a woman in love.”

Carewyn’s face flushed, but she kept as proud of an expression as she could manage.

“...Are you merfolk?”

“Why, yes,” said Kai with a smile. “And you? Are you a pirate? Or perhaps you’re a maid from Bedlam, awaiting her love’s return?”

“Neither. My name is Carewyn...but most people call me Carey Weasley.”

Keira looked at Carewyn through the hole, clearly interested despite her distance.

“You’re different than the other humans on this ship,” she said thoughtfully.

Carewyn scoffed. “I’d certainly hope so. I suppose my grandfather and his crew fear you?”

“Fear, yes,” said Keira in an oddly stiff voice, “but we don’t approach them.”

The memory of her disgusting pirate cousin as a molting skeleton rippled over Carewyn’s mind and she grimaced.

“...I don’t blame you for that. I wouldn’t be here either, if I had a choice.”

Kai raised a curious eyebrow. “You’re a prisoner, then.”

Carewyn sighed and nodded. Kai’s eyes flickered over to Keira before returning to Carewyn.

“...Perhaps we can get you out.”

Carewyn was startled. “What?”

Kai’s lips turned up in a smile. “Come with us...we’ll help you escape.”

It was strange -- Carewyn hadn’t known these two at all, but something in their voices sounded so kind. Despite everything she’d ever heard about sirens, they seemed oddly persuasive...it was like even they were singing beautifully, even while talking...

But...

“No,” she said. “My grandfather and his crew can’t be killed. I’d never be able to defeat them, while they’re like that...and anyone who tried to help me would be killed right along with me.”

Her eyes softened. “Thank you...but I have to stay here.”

Both Kai and Keira looked genuinely startled. Kai seemed to rest on his stomach in mid-air, his tail flopping up over his head as he rested his chin on his fist, his lips spreading in a much fuller, fanged smirk.

“...Well, now,” he said, “I don’t think I’ve ever heard of someone saying ‘no’ to one of our kind in order to protect them before. He shared a glance with Keira. “You truly are different, Carey Weasley.”

Keira exhaled tiredly. “Come on, Kai...let’s go.”

“Coming, coming,” said Kai in amusement, as Keira began to swim off. He added to Carewyn, “Guess we’ll never know if we would’ve been able to tempt you, if we’d met you above water...oh well. Best of luck, little Bedlam maid -- thanks for the new song!”

Kai swam in a circle to follow along after Keira and disappeared into the dark blue depths.

Back on the Artemis, the days of their voyage dragged. Jules had heard all sorts of exciting stories about pirates since she was a child, but now that she was onboard a ship with them, she found that it was far less glamorous than one would think. There was so little to do to pass the time, aside from trimming sails or swabbing decks. Charlie and Bill admitted that was a lot of what sailing on board ships was like in general -- there was plenty of excitement, sure, but only inter-spliced briefly between long stretches of nothing. On top of that, the water on board went sour before long, making it so everyone had to drink rum instead, since it was the only drink that didn’t go bad at sea. The best thing by far for Jules, though, was that there was no dress code -- and so she ditched her fancy dress as quick as she could, traded them in for a pair of men’s breeches, and then belted her chemise around her waist so that it fit more tightly like a shirt. She’d be a little embarrassed walking around in her underwear for a while, but after a while, she concluded it really wasn’t any more revealing than the loose-fitting shirt and men’s breeches Skye was wearing. Bill’s ears turned a very dark red when he first saw Jules out of her dress, though.

Their first real burst of action came when they had to battle a torrential storm that had blown in. The Artemis had been tossed about as if it were a toy in a bathtub, sea water splashing onto the deck with full-bodied waves that could knock a man off their feet. It was likely only thanks to Orion’s bizarre idea to tie everyone securely to the mast with a long piece of rope that served as a life line that no one was thrown overboard. The following day, the storm had fortunately cleared to leave an almost surreal calm. Soon everyone returned to the boring routine of before, mending torn sails and swabbing the deck, as if nothing had even happened.

The helmsman solely followed Orion’s direction of where to go, rather than using a map, so Bill, Jules, and Charlie had assumed he already knew where the Isle de Muerta was. One could therefore imagine how horrified Bill was overhearing McNully talking offhandedly to Orion one afternoon about his compass “not working right for him” -- Jules recalled that it didn’t work at Port Royal either. When the three confronted Orion about it, the Captain responded rather cryptically.

“Lieutenant Weasley said that my compass didn’t point north, Miss Farrier. That doesn’t mean it’s broken.”

Orion turned on his heel and headed back up to the helm. “A bit more to starboard.”

Bill opened his mouth to protest, but McNully climbed down one of the loose ropes enough to pat his shoulder.

“Easy, Mr. Weasley.”

He lowered himself back down into his chair and rolled it around to properly face them.

“The Captain’s compass isn’t like most compasses -- just like Orion himself isn’t like most captains.”

“But you said it wasn’t working right,” Charlie said angrily. “And all he ever seems to look at is that compass. How do we know we’re even heading the right way? Does he even know how to get to Isle de Muerta at all?”

Jules had to admit, she had doubts too. Orion had sounded pretty confident that he’d be able to find Carewyn -- but how could anyone do that, when they didn’t even have a compass that could point north?

The dispute was interrupted, however, when Orion abruptly called out from the helm.

“Put out the lamps!”

The crew immediately tensed up, and bolted around, putting out every lamp. Jules looked around in confusion.

“What are you doing?” she asked. “It’s almost dusk -- we won’t be able to see!”

“The water is darker and colder here,” said Orion solemnly, “and there’s a song on the air. The lamps would only antagonize them further.”

“‘Them?’“ recurred Jules.

“Mermaids, of course,” said Skye impatiently.

“Mermaids?”

“I heard those tales when we were all in the Navy,” said Bill, glancing at Jules a bit uneasily. “Mermaids are attracted to singing and lamplight.”

"Right,” said McNully. “There’s still a 32% chance they might show up even without those, though, so you’d best keep your wits about you.”

Skye nodded. “Mermaids are no joke. They might look beautiful above water, but they don’t look half so pretty under the water when they pull you down to the depths and eat you alive.”

Jules cringed.

“If they’re that dangerous,” she said slowly, “why don’t you do what Odysseus did, to escape the sirens? Just have someone else tie you up really tightly on the mast, and you can’t jump overboard.”

“Yeah!” Charlie piped up. “I reckon Jules, Skye, and I can handle running the ship for a bit on our own -- pretty faces don’t really do much for me.”

McNully laughed. “If being attracted to gorgeous women was the problem, then I’d be a better choice to help than Skye.”

Skye rolled her eyes and scoffed.

“Mermaids don’t just tempt you with sex,” the quartermaster explained. “They’re temptation itself. Everything about them draws you in, makes you open up to them and talk to them...lets them look right through you. They’ll try to tempt you with whatever they think you want most in the world -- and when you give in and get too close...”

She made a knife-like gesture across her throat with her finger.

“There’s only one person on this ship that’s known to have ever said ‘no’ to a mermaid before,” said McNully, and he nodded up at the helm. “And that’s the Captain.”

Bill, Charlie, and Jules all looked up in surprise. Orion had his back to them and was looking out to sea with narrowed, unreadable eyes.

Then, all of a sudden, the crew could just barely make out a eerie, beautiful song, which seemed to float on the wind itself.

“...her chains she rattled in her hands and thus replied she...”

“Stopper your ears!” McNully said urgently. “Quickly!”

The crew hurriedly did as they were told. Orion, however, did not do so. Instead he darted down to the main deck, grabbed one of the lanterns, and set about relighting it.

“Orion, what are you DOING?!” bellowed Skye.

Orion didn’t answer her. McNully rolled hurriedly around the deck as he tried to make sure everyone blocked their ears, but Orion completely ignored him, instead rushing over to the side of the ship with the lit lantern.

The singing was getting louder now.

“Yet I love his parents since they’re his, although they've ruined me... I love my love because I know my love loves me...”

Just as Bill had finished helping Charlie and Jules completely stopper their ears, he caught the sound of a low male voice singing the next line.

“With straw I'll weave a garland, I'll weave it wondrous fine...”

Bill looked up in alarm at Orion. He had a hand cupped over his mouth to magnify his volume as he sang over the ship’s railing.

“With roses, lilies, daisies I'll mix the eglantine...”

“Stop!”

Bill barreled over, grabbing Orion’s shoulder and trying to pull him back away from the edge.

“What are you doing?! Singing and lanterns attract mermaids!”

“That’s the plan,” said Orion, his voice almost frustratingly calm.

Bill saw the water burbling up beside the edge of the ship. His heart clenched with fear.

Orion, however, paid him no mind -- he turned right to the form burbling under the water, his hand beside his mouth again as he continued,

“And I'll present it to my love when he returns from sea... I love my love because I know my love loves me."

Jules quickly grabbed Bill’s arm, pulling him back away from Orion. Bill looked at her anxiously, but she merely reached up to stopper his left ear with some fabric she’d ripped out of her chemise. Orion wasn’t going to explain, so all they could do is get ready.

Within moments, a woman with red hair had appeared out of the water. Her chin and neck were still largely submerged as she blinked up at Orion.

“You know the words,” she said almost shyly.

“Yes,” said Orion. “Where did you hear that song?”

The mermaid blinked slowly. “A maid imprisoned in the brig of a pirate ship.”

Jules had been just about to stopper Bill’s right ear when he straightened up sharply. He turned his head sharply to better listen to the conversation.

"What did the maid look like?” Orion asked.

The mermaid’s eyes flickered over the pirate captain’s face carefully as she eased her head and shoulders out of the water.

“I could not tell for sure. The brig was dark. The hole looking into it was small.”

“Yet you spoke to her?”

“Yes. She was a selfless woman. Very selfless.”

“When did you see her?”

“Very early this morning...before dawn.”

Orion’s dark eyes narrowed. The mermaid reached out to grab onto the edge of the Artemis so as to slide herself out of the water and closer to Orion.

“You know her,” she said.

“Yes,” Orion answered quietly.

The mermaid’s eyes seemed to soften. “...You love her.”

Bill, who had been listening carefully, looked quickly at Orion’s face for some sort of reaction -- but once again his face was remarkably calm, and he didn’t respond.

“I could take you to her,” the mermaid said sweetly. “I know where she is...”

Bill felt his mind drifting slightly, as if he’d suddenly become very sleepy -- her voice sounded almost soothing -- and she knew Carewyn? She could take them to Carewyn?

“No, thank you,” said Orion with the kind of polite finality one would more likely hear at a Christmas function than to a creature that wanted to eat human flesh. “If you saw her this morning, we’ll be caught up with them soon enough. The wind will take us where we need to go, if only we have our sails pointed in the right direction.”

He inclined his head respectfully.

“Best of luck finding your next meal elsewhere.”

The mermaid frowned in immense confusion at him, looking almost put-out.

“You and Carey Weasley are both very strange humans,” she said. Her lips then curled into a faintly wry smile as she added, “She was not tempted by our call either. That should please you.”

And with that, she splashed back into the dark water and disappeared.

Orion blew out the flame on the lamp and turned back around.

“It’s all right now!” he bellowed loud enough that everyone could just barely make out his voice through the stuffing in their ears. “It’s safe!”

Everyone little by little unblocked their ears. Bill turned around to face Orion properly, his brown eyes rippling with amazement and a bit of guilt despite himself, as the pirate captain walked past him.

“You did know what you were doing.”

Orion turned to Bill. The eldest Weasley rubbed the back of his neck uncomfortably. 

“I’m sorry,” he said. “I misjudged you.”

Orion inclined his head slightly to Bill, his lips touched with traces of a smile.

“A common enough thing, for people to do,” he said patiently. “Think nothing of it.”

He strolled back up to the helm, leaving Bill and Jules alone.

Jules turned to Bill. He still had his eyes on Orion’s back.

“Bill...is everything okay?”

Bill glanced at Jules and then back up at Orion, and he swallowed.

The mermaid had said Orion loved Carewyn. He didn’t make any kind of reaction that would prove it was true -- but he didn’t deny it either. And more importantly, back at the church, he’d said he wouldn’t have hurt “either Bill’s or his lady,” when talking about Jules and Carewyn. And immediately after, he spoke of Carewyn’s past, of her history with him...of details even he didn’t know, like her apparently having worn a red ribbon in her hair since she was little...with such a soft voice that it wouldn’t be a stretch to think there was something fond in it, under that detached affect..

Bill hadn’t had a real friend in his life until he’d met Carewyn. They’d connected almost immediately out of their mutual desire to protect and nurture others, and they always seemed to be in sync whenever they had to battle together. Bill had always been a shoulder for others to cry on, but it was Carewyn who had first offered her shoulder to him, while they were fighting the Spanish together. The friendship and caring she’d shown him made her family to him more than her using his name alone ever could have. She was a sister to him -- his best mate -- someone he loved and cherished like few others in the world. And he wanted every happiness for her, just as he knew she did for him...

But what happiness could there be for her, with Orion? He was a pirate. There’d be no way the Navy would pardon him with the East India Trading Company breathing down their necks -- and would Carewyn truly be happy living the life of a pirate, after having been raised on a pirate ship like the Revenge? She’d built up a stable life for herself in the Navy, and Bill knew how much Carewyn loved being able to come back to Port Royal after a long expedition -- to come home, after being at sea. But pirates had no home. There was nothing anchoring a pirate. And no matter what Orion’s feelings were, and how much Bill suspected they might actually be something genuine...it didn’t mean a thing if Carewyn didn’t feel the same way.

“Jules...” he said at last, very quietly, “...is Carey...in love with Amari?”

Jules was startled by the use of her nickname. She glanced from Bill to up at Orion at the helm and back, frowning deeply. 

“...Love, I’m not sure, but...back at the fort, before Captain Amari rescued me...Carey told me that she’d bandaged him up and hidden him from the Navy, when they were young. So when Captain Amari figured out who she was...he let her go. I reckon they probably just made it look like Carey broke free.”

This information startled Bill. His brown eyes brightened in understanding.

“He owed her a life debt,” he said softly.

Jules smiled. “No. I thought the same thing -- that it was gratitude, on Captain Amari’s part. But...”

Her dark eyes softened.

“...Carey said...that he was simply a good man. And I don’t know...but the look in her eyes, as she looked out to sea...I’ve never seen her eyes look like that before.”

She reached out and took Bill’s hand. Bill gave it a squeeze.

“The water temperature has returned to normal,” announced Orion from the helm, emptying the bucket of sea water he’d filled earlier over the side. “Go ahead and relight the lamps -- we should approach Isle de Muerta within the next day or so.”

[johannas-motivational-insults]

Glimmer’s Upcoming Villain Arc

So, I’m pretty sure Glimmer’s going to become one of the villains at some point in the final two arcs of SPOP. Not a Horde-aligned villain, obviously, but I think she’s going to have a villain arc and may even end up fighting against Adora. Sound crazy? Well, there’s actually precedent for all this in the Buffyverse, with the Dark Willow story arc. I will get more into those parallels below.

First, though, let’s look at Glimmer and her situation in isolation.

Glimmer is currently in a vulnerable position. She’s grieving the loss of her only remaining parent (so far as she knows) and she’s now going to be saddled with the responsibilities of ruling Bright Moon, all while lacking a parental/mentor figure to guide her. And who do we know who loves to guide and manipulate young people with magical powers? Shadow Weaver.

Some people saw Shadow Weaver allying with the Rebellion as the beginning of a redemption arc. However, it actually makes a hell of a lot more sense for the writers to have put her there to gain influence over Glimmer and kickstart her villain arc, starting with their unexpected connection in season 3. Though Glimmer clearly hadn’t forgiven Shadow Weaver for torturing her in season 1 or for emotionally abusing Adora throughout her childhood, she decided the Rebellion needed this evil woman’s help. It was a means to an end. But now that that mission to save Adora and disable the portal was a success, she probably won’t hesitate to ask for her help again.

Not only did Shadow Weaver gain a bit of Glimmer’s trust, Glimmer loved the boost in power she got from Shadow Weaver. She’s complained several times about how she thinks her powers aren’t that useful or strong, but Shadow Weaver fed her ego and gave her a chance to increase her powers. When she successfully teleported the Princess Alliance into the Fright Zone, she was ecstatic.

“We did it! I did it! That was amazing!”

Simply put, Glimmer is power hungry. Just look at her eyes when Shadow Weaver is talking about her potential to be a great sorcerer like her father.

This scene and the following scene in the tower gave me the creeps so bad, you could just feel Glimmer being pulled to the dark side by the promise of power. And now post-season 3, not only will she be craving that feeling of power again, there’s an inciting incident prompting her to use it.

With her mom trapped in an empty dimension forever, which is essentially hell (especially for an immortal person ffs), Glimmer will probably do everything she can to get her out. I’m guessing she’ll go to her Aunt Casta for help, but Casta will say there’s nothing to be done (at least not without resorting to dark magic), so Glimmer will go to Shadow Weaver out of desperation. Even if Shadow Weaver could come up with a way to bring Angella back, she’ll say she can’t, because she can use Glimmer’s grief for her own ends.

Shadow Weaver’s motive for defecting to the Rebellion was to take down Hordak and Catra, and at this point she could easily convince Glimmer to help her get revenge on Catra. In fact, there’s a chance Glimmer will go to Shadow Weaver herself looking to team up and get this revenge, though it’s more likely Shadow Weaver will plant the seed and manipulate her into thinking it was her own idea.

Inciting incidents aside, Glimmer has always been someone who had the potential to break bad. Like Catra, she’s power hungry and eager to prove herself, brash and impulsive, and quick to resort to violence. She’s easily blinded by emotion and can be quite heartless, both of which were illustrated in 1x01-02 by how she treated Adora because of what the Horde had done to her father.

She’s also morally gray, willing to go to extremes to achieve an outcome that she considers to be good or just. Her decision to free Shadow Weaver and use her to access the Fright Zone is a great example. Another notable instance was when she had Catra as a hostage in 2x02 and threatened to kill her to counter Catra’s threat against Entrapta. She was eventually talked down by Bow, but only while complaining about how having to take the moral high ground isn’t fair. She was clearly frustrated that entire episode by the constraints of being one of the good guys, and it culminated here.

Fighting for the rebellion, Glimmer is a force for good. But if she decides to chase her own agenda, her powers and personality could easily be used for evil. Especially when there’s someone there expertly guiding her down that slippery slope. 

Now, if the plot does indeed go this way, it will put Adora in a rather unfortunate position. If it comes down to a situation where Shadow Weaver and Glimmer have an opportunity to kill Catra, Adora will have to intervene on Catra’s behalf, for several reasons. 1) Catra is the most important person in her life, as we all know. 2) She cares for Glimmer’s soul. She knows that if Glimmer murders Catra it will haunt her and change her, and she doesn’t want that for her friend. 3) She feels the need to protect the helpless. Catra will probably be all alone in the world at this point, having pushed all her friends and allies away. So not only will she not have allies to fight with her, she’ll be in a poor state mentally, maybe even welcoming death. Even if she was in good shape, she wouldn’t stand a chance against Glimmer and Shadow Weaver’s combined magical powers. And since Adora can’t stand watching defenseless people get hurt, this will force her to step in and protect Catra despite all the negative feelings she has for her right now.

There are two people I could see pulling Glimmer out of this spiral, bringing her back to the light: Bow or Micah. Adora isn’t the best at sympathizing with someone’s dark impulses while fighting tham, as we’ve seen multiple times with Catra. Her job is to protect the world, and she will prioritize that over everything else, including her best friend (don’t we know it?). So that leaves Bow to talk Glimmer down, either by appealing to her morals (somewhat likely, but wouldn’t work at that point) or by reminding her of her innate good side, of the person she is deep down and the love he feels for her. The other way this could go down is Micah escaping from wherever he is trapped (he’s alive, yo) and convincing Glimmer to stand down with a dose of parental love and wisdom (and a big hug).

There are so many parallels to Buffy the Vampire Slayer in this potential situation, and here’s where we get into the Willow comparisons. SPOILERS for BtVS under the cut!

The comparison between Catra and the rogue slayer Faith has been made many times before, along with the relationships these two characters have with the respective heroes of their shows. But if Catradora is Fuffy, that leaves Glimmer in the Willow role. And there are actually a lot of similarities between the two characters, both being fiercely protective but tempermental magical sidekicks to the hero (who hate being called sidekicks, btw). Both have had trouble making friends in the past, and both have a dude they were best friends with for years before the hero came along and turned them into an inseperable trio.

And now, there are notable and worrisome plot parallels between Glimmer and Willow in seasons 5 and 6 of BtVS.

Buffy sacrifices herself to save the world at the end of season 5, and the “Scooby Gang” believes she was sucked into hell in the process, so they decide to try to bring her back via magic. There is some dissent among the ranks, but ultimately they defer to Willow (who leads in Buffy’s absence like Glimmer will be leading the Rebellion in Angella’s absence), and Willow is not afraid of dark magic. In fact, we already saw her use it in season 5 against Glory (that season’s big bad) after Glory temporarily stole the sanity of Willow’s girlfriend, Tara.

Willow’s attack on Glory was emotionally motivated - she went off on her own after the others thought they had talked her down, thinking an attack was unwise. It was clearly motivated by revenge rather than strategy, which was made exceptionally clear by what she said to Glory.

(This scene actually reminds me a bit of the aforementioned incident with Catra in 2x02, only more extreme. The situations were obviously different, but the vengeful overtones and the mages’ frustration with allies trying to constrain their powers were similar. Both of them were struggling with impulsiveness, morality, and vengeful desires.)

Willow is ultimately successful in bringing Buffy back, though it turns out to not be entirely a good thing. If Glimmer fails to bring Angella back, as I theorized above, she could easily skip ahead to the end of Willow’s season 6 arc, the next time Willow suffers a great loss.

(The middle of Willow’s season 6 arc is her getting addicted to magic and using it in morally dubious ways on Tara and her other friends, which causes Tara to leave her until after she stops using magic and recovers from the addiction. SPOP’s writers could include something like this, but I don’t think they will, for time’s sake. More likely they will just continue to show Glimmer being tempted and corrupted by power as she gets closer to Shadow Weaver, rather than using her powers on her friends.)

The end of Willow’s season 6 arc starts with the notorious shooting death of Tara Maclay. When Tara is hit by a stray bullet and dies in Willow’s arms, Willow attempts to use magic to bring her back, but is denied. This sends her into a spiral of rage and grief, and she spends the next two episodes attempting to kill the shooter and his hapless allies. She catches up to Warren and flays him alive, but the others escape with Buffy’s help. (In the finale she tries to end the world because she believes it is for the best, as life is too full of pain. SPOP definitely won’t pull this same plot point twice, but the revenge quest up to that point is absolutely something that would work for Glimmer.)

Speaking of Buffy stepping in, let’s look at parallels to the situation Adora will find herself in, if my theory is correct. 

Buffy tries to dissuade Willow from murdering Warren because she believes it’s wrong and she doesn’t want Willow to have to live with it after. When she finds Warren’s body she decides Willow has gone too far and stands against her when she tries to go after Warren’s allies. Willow is tired of Buffy’s lectures on morality, of living by the good guys’ rules. She wants revenge, and Buffy is standing in her way. She’s also tired of being treated like a sidekick and is eager to show Buffy who is more powerful. They end up having an epic fight scene before she decides to end the world.

With the way she gives in to her dark impulses, fights against Buffy and their friends, and tries to end the world, Dark Willow actually ends up being the big bad of season 6. Her best friend Xander is the one who ends up saving the world - not by fighting her, but by blocking her magic with his body, reminding her of who she has been all these years, and telling her repetitively that he loves her. He literally saves her (and the world) with the power of love and friendship, a recurring phrase on SPOP.

The perfect parallel here would be Bow stepping in and reminding Glimmer of the goodness inside her. Perhaps he’d face off with her while Adora is fending off Shadow Weaver. But yeah, for the reasons I outlined above, Bow would be the perfect candidate to call Glimmer back from the brink of becoming a murderer. He’s known her longer than Adora and is more empathetic. Xander is often referred to as “the heart” of the Scooby Gang, the one who lacks magical powers but makes up for it with his empathy, courage, and enthusiasm. Bow fills that same role in the Best Friend Squad and Princess Alliance, and he wears a literal heart on his chest. (Yes, Xander is problematic in some ways but damn it that’s so off-topic and I’m not getting into it.)

I don’t think Glimmer will actually succeed in her quest for vengeance, or at least it won’t culminate in Catra’s murder. SPOP deals with some dark themes but it's meant for a younger audience than BtVS, plus Noelle surely knows better than to kill a fan fave wlw. But Glimmer will probably have an opportunity to kill Catra and be dissuaded at the last second, then have to embark on a redemption arc of her own.

Again, this is all just a crazy theory, but the idea of Glimmer going dark is both scary and exciting. She’s most interesting as a character when she’s struggling with her darker urges, and I think SPOP has been hinting at and slowly setting this up over the first two arcs. Now with an inciting incident at play, she could easily give in to those urges in the wake of her grief, letting her vengeful streak bubble to the surface like it did for Willow. I can’t wait to see where the story takes her in arc 3.

[buzzdixonwriter]

Federal Operator 99 review

“Sophistication” isn’t a word one hears applied to serials very often.  Federal Operator 99 aims for sophistication and surprisingly hits the mark more often than not. 

It’s not a uniformly smooth attempt and the rough spots are noticeable, but for the least expensive of Republic’s three serials in 1945 (and lordy, were Manhunt Of Mystery Island and The Purple Monster Strikes inexpensive!) Federal Operator 99 is solid entertainment. 

Let’s start with the script, often the least sophisticated element of a serial. This time instead of Wild West adventures or sci-fi thrills Republic writers Albert DeMond, Basil Dickey, Jesse Duffy, and Joseph Poland under the guidance of studio story editor Ronald Davidson focused instead on a very human scale criminal enterprise, led by a colorful / complex / conflicted crime lord, Jim Belmont (George J. Lewis) with a penchant for fine art and piano concertos. 

Belmont is no typical Republic supervillain but a very human — albeit murderously eccentric — criminal. All of his plots are plausible and doable. Conquer the world? Hell, no.  Steal jewels then double cross when paid a ransom?  Oh, yeah. 

That alone is a refreshing change of pace for a serial of this era. 

His opposite number is our eponymous Federal Operator 99, Jerry Blake (Marten Lamont).  Serial leads (other than costumed heroes) tend to be played as just regular folks; the audience appeal is that we like to think we would be just as heroic under similar circumstances.

99, in contrast, is presented as debonair and dashing, super competent and equally as cunning as his quarry, and speaking with a faint English accent.  It’s not much of an exaggeration to say he’s a prototype of another JB with a number:  007. 

And speaking of JBs, notice how both hero and villain share the same initials as well as equal expertise in their respective fields, and a taste for the finer things in life. “Avoid giving your characters similar names” is one of the fundamental rules of genre fiction, and for Davidson’s tribe of scribes to give both the same initials indicates they were quite consciously trying to link the two on some level. 

One of the best things about this serial is 99 is not a reactive hero, waiting for Belmont to strike so he can pursue him, but is actively trying to trick Belmont and lure him out into the open where Blake’s team can arrest him. 

Despite this, Lamont comes across as a rather lacklustre leading man, while Lewis’ screen charisma is so strong we’re disconcerted to find ourselves actually rooting for him at numerous points in the story! Republic missed a bet by not swapping their two leads; it would have made for a far more dynamic story line.  

The script doesn’t help much, either.  While it’s always hard to tell who wrote what parts of any serial, one of the writers here clearly had a much better grasp on what they were trying to achieve and it reflects in good dialog and strong scenes. 

Other writers give us the equivalent of juvenilia with their unimaginative flat declarative sentences, the single biggest drawback of this serial. 

While she ended up a Republic Western heroine under both this name and Adriana Booth, Lorna Gray as Rita Parker is two lethal steps up from the typical supporting villainess.  She’s not decorative arm candy but a willing and ready partner to Belmont’s crimes.  

Of her counterpart among the good guys, let’s be generous and say Helen Talbot as Joyce Kingston is fetchingly cute and enunciates all her lines quite clearly. It’s not uncommon for serial stars, especially the ladies, to be tied up at some point in the proceedings but Ms Talbot is restrained so often and in such a wide variety that it’s clear somebody in the production had an affinity for this sort of thing.  She also spends an inordinate amount of time being driven about in the trunk of various automobiles. 

You do the best with what you’ve got and I’ll leave it to the reader to decide if this applies to Ms Talbot or the production. 

The automobiles bring up an interesting point re Federal Operator 99’s meager budget. The serial uses a lot of stock footage and to disguise the fact some of it is well over a decade old, the script draws attention to certain cars being earlier models and not the more contemporary ones seen elsewhere. 

Likewise, nobody changes clothes unless it’s to match stock footage; this is especially noticeable for Gray and Talbot. 

Federal Operator 99 has a very lean look to it, past the opening chapters (typically used to sell the serial to theaters) there’s never more than four characters on camera at any time. Those familiar with Los Angeles and the San Fernando Valley will spot many landmarks and familiar streets. The production does enjoy a bigger feel than other Republic serials of the era, and I think this is because they managed to use a number of sets left standing after feature films finished production.  

Where the serial really shines is in the direction. As typical of the era, more than one director handled that chore.  Usually studios had one director for dialog scenes and another for action, or one for interiors and another for exteriors, but Federal Operator 99 has three (!):  Wallace Grissell, a film editor who became a director presumably because he knew how to intercut stock footage well; the legendary Spencer Gordon Bennet, who directed more serials than anyone; and Yakima “Just stay in the chariot and we’ll see you win the race, Chuck” Canutt, who handled the action scenes and boy, howdy! did somebody make the right call there!  Federal Operator 99 is crammed with chair splintering / table flipping action from crotch to sternum, Canutt’s philosophy being no self respecting hero should ever walk through a door when he can dive headfirst through a window, gun blazing. 

If I didn’t know better, I’d think chapter four was originally shot in 3D based on the amazing number of objects and human bodies Canutt sends hurtling straight at the camera. 

The cliffhangers are good, better than most comparable serials, and there’s nary a cheater in the bunch. The Lydecker brothers round things off with a superlative display of exploding miniatures. 

Serials are noted for their casual use of violence, but Federal Operator 99 is significantly more gruesome than most. 99 meets Kingston — elaborately bound and gagged in a closet, no less — right after shooting and killing one of Belmont’s men; the two then have a cheery conversation about what to do next despite the fact there’s a corpse laying literally at their feet!  Various underlings and innocent bystanders get shot in the back or stomach, Belmont is freed in an expertly staged train rescue where a cohort as an afterthought casually shoots and kills the escorting agent, a woman screams off camera as Parker tortures her with a cigarette lighter, a criminal dies twitching under a hail of bullets, one bloodied mortally wounded minion takes a minute to heroically crawl to a detonator because how else are we going to get a satisfying Lydecker ka-boom?, and Belmont himself makes his on camera hard goodbye by plunging four stories to solid concrete.  

The gruesomeness brings up two plot points that raise questions for me:  First Belmont has a phone conversation with an unseen spy in Washington then discusses with his cohorts the spy by name and how vital he is to their organization…and we never reference said spy again; next Belmont mentions four members of his former partner‘s gang by their names, gives a brief run down on each, mentions how they might know where the hidden loot from a bullion robbery is…and in the next cut Blake is reading a newspaper story about how the four were brutally tortured and mutilated before being executed gangland style. 

Say wha — ?  I’m guessing Federal Operator 99 was originally conceived as a 15 chapter serial only to be truncated to 12 in preproduction (Manhunt Of Mystery Island and The Purple Monster Strikes were Republic’s last two 15 chapter serials, everything after that was either 12 or 13 chapters). Rather than waste more time and money rewriting the script, they just whacked out three chapters worth of material but didn’t change the dialog. 

The gruesomeness of Federal Operator 99, and its more realistic scale and script make me wonder if it didn’t start life as a development for a Dick Tracy or Rex Barton serial; the format certainly fits both. 

Not the best serial Republic ever made, but better than most. 

 © Buzz Dixon 

[kob131]

https://rwdestuffs.tumblr.com/post/625278536172879872/done-dirty-shipping

Maybe it’s because I’m still not over how the writers just up and offed Clover and are trying to use the ship he had with Qrow for marketing purposes, but still.- If they hadn’t done that, maybe there wouldn’t be as much backlash for what they did?

*looks behind Dudeblade to see all the Arkos shippers still trying to burn RT to the ground for sinking their ship.*

I highly doubt that.

They promoted Qrover (And that’s the name I’ll be using to avoid getting into the proper ship tags) for the sake of merchandise. They do the same with Blang (The name I’ll be using for the Blake x Yang ship to avoid getting into their tags as well), it simply seems as if these ships are just there to keep an audience invested in the show for the hope that their ship will become canon before the final episode of the series.

Ah huh-

Let’s check RT’s merch store shall we?

https://store.roosterteeth.com/collections/rwby

This is the store showcasing RWBY merch by the ‘Featured’ selection. Notice something...unusual?

Yeah, the front page of their ‘featured’ section (which would tell you how they market the show) has three pieces of possible shipping merch...and it’s Renora and White Rose. NOT Bumbleby OR Fair Game. And I do mean ‘possible’ because one could debate that since Ren and Nora are always paired together and considering White Rose is so ignored by the fandom equally ‘shippy’ moments are widely ignored- it’s not inherently romantic.

In fact, none of the three given pages have Bumbleby merch. The closest is the Yang Vs. Adam hoodie...which excludes BLAKE. SO it’s closer to Yang X Adam merch.

But maybe that’s not enough for you. Let’s switch to the ‘Best Selling’ selection. Of that we have...one shippy piece of merch. The same Renora piece from before. Odd, considering if they’re using shipping to sell the show: Why isn’t the merch, the open support of the show, flooded with shipping merch? Why is both the stuff they are pushing people to buy AND the stuff people are buying NOT showing up?

Seems rather counter intuitive ...unless they AREN’T doing that.

This post was made about a month after the finale. If miles pulls the same thing that LoK did with the LGBT+ characters in his show, not only is that hypocritical (As he would be doing the exact same thing that LoK did), but it would also be significantly worse.

Actually he fundamentally can’t. Because Miles wrote in at least three LGBT characters already into the show. So he’s being better by your standards.

Not only was LoK screwed by the network numerous times in regards to their budget, but they were also forced to not make the relationship between Korra and Asami as overt as they would have liked.

And so was RWBY screwed with budget AND resources by Gray. Andd yet no word from you on that...

And again- Already showed at least three characters being lesbians, if not five since Scarlet and Nolan are gay in Before The Dawn, a book written under Miles and Kerry’s supervision.

What network is keeping the writers from doing the same thing with stuff like Blang, Qrover, or whatever the ship name is for Terra and Saphron? Why do they only get hand holding, soft looks™, and confirmation outside of the canon show?

Bumbleby- Canonical status unconfirmed.

Fair Game- Never intended to be a ship. It was just a reference to the waitress back in Volume 4 along with the usual shipping exaggeration.

Terra X Saphron- They literally have a fucking child together.

Other shows like She-Ra, Steven Universe, and Black Lightning managed to have LGBT+ Representation in their shows despite the networks trying to reign them in. So a show that has no such restrictions can’t do it because…?

They have. You’re choosing to ignore it.

To say nothing of the quality of these since Steven Universe is the only respected one and is rather unique in comparison.

Nora and Pyrrha can forcibly kiss Ren and Jaune respectively, but Same-Sex couples have to settle for elementary-school crush stuff?

Terra and Saphron have a fucking kid. And two of your examples are bullshit.

Meanwhile, how are those ships fairing again? ... One is permenantly sunk and wasn’t even confirmed considering Jaune’s feelings for Pyrrha are not confirmed to be romantic and the other is having massive issues that could sink any romantic connections?

And how do people like you react to any kind of strife regarding same sex stuff? ... Called Illa a psycho lesbian despite being significantly more stable, regretful and safer than her straight counterpart Adam?

Yeah, why don’t YOU tell me why a fanbase known for being abusive towards the creators and hounded them for YEARS about this shit isn’t being fed?

Also, this is a dick move. $16.00 for a sunk ship? Not only that, it’s a sunk mlm ship. A kind of representation that hasn’t gotten any real representation outside of Scarlet? And even then, that was confirmed in a different book.

More like a set of pins that can be used for cosplay.

TBH, mlm shippers have every right to be upset about this.

Straight shippers have had the biggest ship sunk and permanently in limbo (Arkos) and the second one is going through a massive rough patch (Renora) while the third and fourth are regularly decried as pedophilia (Lancaster and Rose Garden) if not outright abuse (Tauradonna).

The others get confirmed ships but not the ones they wanted. Boo fucking hoo.

Whether the writers intended to or not, Qrover was coded, and they queerbaited.

Queerbaiting is a marketing technique for fiction and entertainment[6] in which creators hint at, but then do not actually depict, same-sex romance or other LGBTQ representation.[7] They do so to attract ("bait") a queer or straight ally audience with the suggestion of relationships or characters that appeal to them,[8] while at the same time attempting to avoid alienating other consumers.[6][9]

They literally CANNOT do that by definition. There are same sex relationships AND characters to connect to. If you try promoting this vague and broad definition of queerbaiting-

Well, what’s to stop the Snowbird shippers from claiming they were straight baited with Winter and Qrow or Blake and Sun?

Do you REALLY want to cross that threshold?

P.S. ‘Coding’ effectively means ‘I see stereotypes’ so you’re kind of being a douchebag here.

Let’s also remember that Pyrrha’s entire existence literally revolved around Jaune and she was meant to die to further his development. Jaune x Pyrrha was literally made to develop Jaune and pretty much only Jaune, with the other characters’ reaction to her death being an afterthought.

*cough* Ruby has gotten more development from Pyrrha’s death than Jaune *cough* 

Then there was also that one Blang bag that cost like… $60.00. The writers are using these popular ships for merchandising usage and to try and reel in fans who are wlw or mlm with these ships.

Which is why they...don’t...show...up on...the...merch store...

Fun Fact: Dudeblade never shows the so called 60 dollar bag despite CLEARLY being able to screen shot images. So we’re expected to take his word for it despite not being honest in this very video.

They didn’t even have enough self-awareness to feel bad about it.

So how exactly are we supposed to trust them when they don’t realize what they did to the community?

He says as he ignores aspects of LGBT rep in RWBY, outright called a lesbian a psycho for daring to be an antagonist despite a much more unstable person to compare to and ignores the LGBT rep in other RT shows, including Camp Camp which has two heroic gay married men in the show.

Whether you ship Qrover or not, this was a massively dick move to pull. And these idiots have a lot of things to make up for it. If they choose to do it at all.

You know, that dick move you forced onto them.

And yet you doing worse (’Hey when is Miles gonna die so he can be replaced?’) deserves no making up?

Where were the guys who said that revealing that Pilot Boi was gay before offing him was a bad idea? Why did the writers not realize that this sort of stuff was going to come off as queerbaiting?

Probably because Eddy did it himself and didn’t know about this.

But really… Way to go RT. Your dumbass decision has now turned off members of the LGBT Community and caused some of them to cancel their subscriptions.

Hope that shock value was worth it.

Just like with Pyrrha, something you yourself even said before.

I fail to see how this is RT’s fault outside ‘you dared to exercise free will!’ considering that your logic would dictate changing the show the minute an LGBT ship becomes popular.

Even as you’ve spoken out against this kind of thing with Death Battle (accusations of sexism).

Way to go with the hypocrisy Dudeblade.

[sakuhai]

From the recent events of s3 of Castlevania and the extreme reactions of part of the current fandom I assume that most people are either unaware that this particular cartoon series version is rather a almost completely "interpretation as adaptation" case and not an accurate adaptation of the Castlevania series as it has been established in multiple video games,manga and novels since 1986.

Or they simply haven't looked so deep into the previous versions and what the story and the characters originally are about.

Alucard being a quite ambiguous character who has a completely different and very complicated long story and arc of his own in the particular arc Castlevania series is at this point his character was never a main character and his appearance was more like an "easter egg" and so the scriptwriters have taken many liberties on Alucards character making him almost completely different from what he was designed and composed by his original creator.

The original Alucard would probably not seem so appealing and wouldn't had become very sympathetic popular and relatable to the modern audience.Or would he?In my opinion he would but as mentioned before many liberties have been imposed to his character and storyline in the cartoon series which doesn't claim to be an accurate adaptation.

I think it would had been more interesting if they had kept his original traits and explored those more instead of writing his character almost from scratch.But I guess that's how it works with media in order to not have legal issues or sth like that?I'm not sure but the Castlevania adult cartoon series is free adaptation almost like a licensed fan fiction so having said that I will go to the real "purpose" of this post.

Cartoon Castlevania Alucard is not the "canon" one.Is just someone's interpretation and "take" on his character.And it doesn't go much beyond that at this point.

The original Alucard is a very strong assertive individual with extreme intelligence,very strong morals and beliefs,and a very sharp perception of himself,the environment and people.

He is not affected by others,he makes his own decisions,he's well balanced and grounded.He knows what he does and why.

Being so clever with a strong intuition but also he seems to have a square logic.He is aware of himself and that as a supernatural creature with the values of his time,and the fact that he is very mature and noble he feels the responsibility of defending humans as someone who isn't directly affected nor will he ever practically have the same problems as the mortals.

Alucard with his original character is someone who has established everything inside his mind and soul from a very young age and with his mothers love and words always in his heart and mind he goes forward.

He is not vulnerable at least not in the way he is in the cartoon.He doesn't need any guidance or advice by anyone.His judgment and actions are not affected by others.Because he is sharp and can see right through other individuals and situations.He seems to be more into spiritual and intellectual paths and he has complete control of his body and mind.He doesn't get distracted and his self control is adamant.

He doesn't seem to be ever affected by his natural urge of consuming human blood.He has expressed his thoughts and misgivings that if he ever tries it he would probably want more and he understands that with that the power inbalance between him and mortals would only be stronger.He is extremely powerful being a hybrid as it is,so he doesn't seem to want to explore what his abilities would be like if he consumed human blood.And Alucard is aware of everything.He knows what s*x is and he never seems interested in it.In the graphic novel I believe he has even been approached multiple times by a lot of people for that purpose but he was never interested.He knows when he received flirting from others,he knows when humans try to seduce him.Again he never reciprocated any of those.Even in the cartoon version he says "Gross" when he sees Trevor and Sypha kissing.He tells Trevor to f*ck off and he gives him a middle finger.

Alucard knows what's up.I get that,those were probably just for laughs but still it should mean that Alucard knows what it means when people kiss like that etc..So its not like he wasn't aware of what was happening when Taka and Sumi started kissing him...

So based on how Alucards original character was established through the years and people knowing that and accepting that,it should be understandable why some of us wouldn't take his character in the cartoon very seriously and make some rather sarcastic comments and humor about it,instead of being disturbed by it.

I hope that people will understand what I mean despite my probably awkward usage of the English language.

Its just that some fans know the original Alucard and this "alien" Alucard seems borderline a caricature or we would rather the producers had chosen other things from their unlimited choices for Alucard.

It did seem ooc for Alucard to be vulnerable and naive like that.His words towards Taka and Sumi that they shouldn't be like that because the world is not against them and that they still have other options and chances to better themselves and their lives,instead of seducing and killing people and supernatural creatures does sound like something the original Alucard would say but he would say it before the s*x and not afterwards.And the original Alucard would probably even kick them out for being "lewd" if they hadn't previously understood his lecture.Alucard even in his cartoon version had very clearly warned them that they should be careful because he is a vampire after all,so his reactions a few days later seem way too weird...

Alucard is sassy and he would had denied them and tell them off pretty intensely preaching them like an older sibling or even a father figure.

Also original Alucard is someone who knows who he is and what he is.He knows that great power comes with great responsibility.He knows his abilities and that his choices are unlimited compared to humans.Even if he would give in carnal pleasure he still wouldn't chose to slaughter humans for their weak bodies and minds.As a supernatural creature he has high standards for himself and like other cases he would avoid killing humans all the more so young desperate humans.He has many skills and abilities.Subduing them would had been a piece of cake for him.Alucard is someone who can even predict somebody's thoughts and moves before they make them.

Alucard's history of murders is in its majority reported in cases of direct battle and mostly he would kill other supernatural creatures and not humans.Alucard is very responsible and operates with logic but he also has empathy.

Like in the case with his father,he didn't only blame humans for losing their composure getting overwhelmed with terror and therefore taking rashed decisions which result to catastrophic events.Alucard also seems to think that his father also bares a huge responsibility for what happened to his mother.So ofcourse if Alucard ever committed such a mistake he would definitely take the entire blame and responsibility instead of turning evil and choosing to destroy everyone and everything as a copying mechanism.

So overall the character of Alucard originally doesn't have any obvious flaws or vulnerabilities.But still one way or another he would still be interesting and have his audience/fans.Its just that unfortunately or not the producers made that decision for Alucard's character in this version of the series.

As for his very personal life and romance or s*xuality,the original Alucard never engaged into any type of s*xual activity with anyone.And his relationship with Maria seems nice but I would say its up to interpretation.It's easier to say that Maria likes Alucard and sees him as a love interest.He doesn't seem to feel that way.He likes her and respects her and they work nicely together as partners in battle but other than that he never reciprocated her love signals.

But if the story of the cartoon Castlevania continues and catches that arc and since many fans of the revamped Alucard seem to consider him a baby who deserves everything good its quite possible that the creators will hook him up with a nice girl in the end.I predict that he will be considered "morally gray" and "worthy of redemption" in the end,though I'm not sure I would stan him if he turned evil in s4 even though Im pretty sure he will get "redemption" one way or another eventually.Unlike Taka and Sumi who seemed interesting and also could be considered "morally gray and worthy of redemption" but they weren't created for that purpose.That's very unfortunate in my opinion at least.

Despite that Castlevania has always been dark themed based on the most gruesome horror stories and creatures and things such as love and relationships are never truly touched upon.And that has never been the point or focus of the story.

In conclusion please don't get to flustered with people who are not so emotionally connected or invested to the 2020 cartoon version of Alucard.None of the things that happened to him in s3 have ever been in any of the games or visual novels.Some just may prefer his original character and original story line.And since this is only fiction and the situations during the introduction and conclusion of the TakaSumiAlucard fiasco are so ooc and uncalled for many people would approach it with skepticism or even sarcasm (because its way too ooc)and consider it just a move for shocking value and fanservice.It also should be understandable and tolerated that some people do not disregard the 2020 Alucard from his own fault and responsibility.All the skeptical comments and opinions on Alucard in s3 I don't think are more "toxic" or "nasty" and "disrespectful" than the comments and opinions saying that a good way to overcome a supposed trauma from a disastrous 3 way,would be engaging into another 3 way...

Thats my thoughts on the original character of Alucard based from what I gathered from the material I own and have experienced through the years with the series.Mostly video games and a few interviews of Ayami Kojima and Koji Igarashi who approved the "rewrite" of the story as he describes it.

[bbq-hawks-wings]

There are times when we get caught up in black and white, either/or, and all or nothing. We forget sometimes to breathe, step back, and find the gray in between. Sometimes we recognize that those hard lines in the sand are drawn more out of habit than any concrete reasoning we can immediately muster, and that there isn't really a justifiable reason to place such great emphasis on separating the thing in question in the first place. Opinions on evaluations of fictional characters are held in extremes as marks of character and points of contention within fandom far and above what they usually should be.

For many, fandom is a form of escape above mere entertainment. Comfort characters garner a following of people who often share enough commonality to bolster each other and bind them together in support as they cheer on and vicariously live through each and every one of that character's victories. Occasionally, though, these characters can end up having the exact opposite effect.

Even putting my personal feelings about Takami Keigo aside, I've always been fascinated by what he objectively is as an anime character. Though I fully recognize that removing myself from the equation is difficult, if I had to put my impression of what he is in the industry into words I'd say he feels like lightning in a bottle. It's not often in anime I find a character with such an appealing and striking visual design within his own series and next to characters of any other series, alongside such an endearing and clearly defined characterization in the way he's written and the way he acts - the whole combination of which is more powerful than the sum of its parts is something I can only describe as plain and simply "appealing" - and the mundaness of the word betrays the profound extent to which that definition applies. Almost anyone in the world could look at that character with no prior knowledge and say and say, "I like him." Almost anyone who might venture to look a little deeper would probably say at the very least, "Yup, I can appreciate that character exists" even if it stopped there.

There's likely far more of these kinds of characters in anime than I give them credit for, but Hawks has struck a chord with me in particular that resonates far more than most other examples I could think of. He's done the same with many more, I know. I am not the only Hawks-centered meta/analysis blog on this site alone by any stretch of the imagination. I wouldn't be surprised if my own more-often-than-not, self-indulgent interpretation of events has however many more rolling their eyes at my work. I experience the same thing myself on occasion in regards to content I disagree with (all in good faith, please understand - we all have different tastes and viewpoints and that's a good thing), but in this particular context I find something exceptionally bittersweet in it.

For some, it's simply bitter because they place an emotional stake in the ultimate fate of Takami Keigo far above what I do - something that's much more personal and valuable than I often realize; or maybe I do, but those reasons why simply strike far more deep and personal for others than I can personally relate to.

From the very beginning Hawks has been framed in the moral gray of the greater context of the My Hero Academia lore. He is not all good but not all bad. The way he interacts with others comes across as cold and calculating, but his inner thoughts betray a warmth and depth that's deeply endearing. The contrast of the massive good he seeks to do despite the profound wickedness of his upbringing has captured the hearts of many and has them thinking more or less the same thing, "This character has such an undeniable amount of good in his heart that he deserves to end up happy after all the pain he's been through."

"He deserves to be free. He shouldn't have to be alone anymore. He should do what makes him happy, not anyone else." Every single Hawks fan I've heard from has echoed these same core sentiments, though it's taken many forms.

Herein lies the near paradox of his fanbase, ironically befitting his ambiguous nature: the very traits that endear him to individual fans are often the context and lens by which they define the key to the ultimate happiness they want for him, and that spectrum is a wide one to the point of having one of the most diverse dedicated fanbases to a single character I've ever seen.

Just as an easy example, for someone who latched onto the fact he was used like a literal tool for others' gain, they may see the key to Hawks' happiness in rebellion - kicking the system, fighting the man, going apeshit for once next to people who also are tired of being trampled over.

For someone who recognizes his unwavering desire to do good and help others despite his developmental environment may see him being handed the reins of his own life back to him as his ticket - to have the choice of saying yes or no, to be able to keep going or just fly away merely because he wants to.

I have to pause and emphasize that they key to understanding both perspectives is catharsis for the audience in question, and while I have my own opinions as to which is more befitting to the character as written, I am placing equal emphasis on both interpretations as valid reasons to root for the ultimate outcome in each scenario.

This is all in response to comments I've received thanking me for being so steadfast and vocal in my insistence that while Hawks' formal allegiance may change, his heart and the way he feels towards heroes in general will not. I may have my personal preference and own interpretation of what that will look like in the end, but the key takeaway is that I don't see him bucking the entire heart of the hero movement in hopes to get back at the Hero Commission.

However, that isn't to say I don't understand or look down upon those who either genuinely have come to a different conclusion or would just rather see it happen because it would be more satisfying or interesting for them in particular. I also wouldn't be sore if it ended up coming to pass assuming the buildup to that point felt appropriate and genuine as I don't see it as an impossibility for his character. For me, it doesn't have to be a point of contention driving a wedge between different Hawks fans.

So if you ever feel frustrated or upset at the amount of support in your preference or lack thereof in your desired direction, don't let it get to you. While others have their own reasons for wanting the ending they want, the overall result they want from him is more than likely the same as you.

I asked a completely informal poll giving people an either/or ultimatum for where fans personally wanted him to end up, purposely leaving out a potential third option; but the replies I got overwhelmingly echoed the same one regardless of the false either/or I intentionally planted, "I have my preferences for where I want him to end up, but really all I want is for him to be free and do what he wants in the end because it's what HE wants to do."

That's amazing!

Simply by virtue of my own audience or the way it rippled through the community it could be biased in any direction, but when at least HALF of the total responses say, "Neither" in some capacity regardless of a forced preference I think it's safe to say that we all have a lot more in common regarding this character than we often realize, and he isn't even real!

Hawks was always gray on purpose, and I really hope at the end of his arc we get something that pulls together and unites the other characters in the series as well as the fans because I think that's the point of his character to begin with. I doubt everyone will be completely happy with the outcome off the bat, but as long as it's genuinely satisfying from a character development standpoint I hope we can pull together in support knowing we can't always get what we want, but it was a good run - plus there's always fan fiction for when the author got it wrong!

For real, though, let's get excited together. Find your corner, but follow the character not the crowd. You don't have to think of them as perfect, and sometimes the characters that even end up disappointing us the most stick with us longer. We can always dig a little deeper to find out why they did what they did, or why we want something so badly for them, and even just acknowledge when we just want what we want because we want it. That doesn't make us bad people or bad fans. Fiction is usually written to be enjoyed - HeroAca definitely not an exception to that general rule - and tastes in entertainment vary far and wide. Any one series with that variety of expectations aimed at it just can't satisfy everyone so I'd personally rather it stick to the story it was trying to tell from the beginning instead of succumbing to a popularity vote, even if I didn't get the ending I wanted.

I just hope this was a comfort to some of you and an olive branch to others in case you were feeling down about how others viewed your comfort character or just caught up in another ultimately pointless fandom war because it happens. Maybe we can even use it as an exercise to see things from another viewpoint to understand their perspective and realizing it's okay to agree to disagree. I don't want to put this in the character tags because I think there are plenty that don't need or want this content but still those that do who will find and share it in confidence. This isn't about sides or even being right. Let's enjoy our favorite character together and watch him be happy in the end, however that ends up being.

[jeanandthedreamofhorses]

You're into ASOIAF too? Oh wow. You certainly made the right call dropping this shitshow -and yeah, looking back, I didn't think it possible to have a worse season than S5 but hooo boy, was I wrong-. Knowing its abomination of an ending now, I'm trying hard not to let it ruin the books for me, too, so take this as a cautionary tale, lol. And bc some positivity would be nice and I do always enjoy reading your opinions, if it's okay, could I ask you about your fave ASOIAF characters and such? thx!

Frick yeah, the question I’ve been waiting for! I can gush about pretty much every character since they’re all so amazingly well written, but for a brief list of the top contenders… (TWOW spoilers ahead!) 

5. Asha Greyjoy

“If there are rocks to starboard and a storm to port, a wise captain steers a third course.”

Irreverent, cynical, mocking, confident and dangerous, what’s not to love about Asha? She immediately made an impact with such scenes as her “sweet suckling babe” quip and was one of my favourite side characters in ACOK.

AFFC, however, was when she really got to shine, where to my elation she got a POV chapter, and more in ADWD. Despite her seemingly Ironborn-to-the-core personality, we discover she’s actually one of the least zealous of the Ironborn, sympathetic to the New Ways and those influenced by the culture of the ‘greenlanders’ like Rodrik the Reader. As one of the few reading Ironborn, she’s clearly one of the most intelligent of the Ironborn and certainly more open-minded, which leads to her down-to-earth sales pitch for the Kingsmoot, a sensible, realistic policy which would be genuinely best for her people - while still, of course, maintaining some elements of conquest: she is the kraken’s daughter, after all.

This side to her personality that sympathises with the fringe elements of her society and is able to make realistic assessments of the possibilities of success comes largely from the difficult position of being a prominent woman in the hypermasculine, heavily patriarchal Ironborn culture. Being raised as Balon’s substitute son has landed her more freedom than most Iron women, but in a complicated position nonetheless. She manages to handle it to the best of her ability, however with Balon gone she comes to realise just how precarious her position always was.

Now, like many other characters in ADWD, she is dealing with the hardship of broken dreams. Disaster piles upon disaster for Asha, from the failed kingsmoot to the loss of Deepwood Motte to becoming captive to Stannis (a dynamic I can’t wait to see more of btw, what an interesting clash of personalities!). Like Tyrion, her bravado serves to mask her insecurity, and her sense of powerlessness from recent events - both in commanding her own destiny and the heartache from the ruinous state of her family - really comes out in her inner monologue during ADWD.

How fitting, then, that this is when she reunites with Theon, another character whose lofty ambitions were torn brutally to the ground. Asha lorded it over him in Winterfell, but perhaps now she can relate. Mock as she may, Asha genuinely loves her family, and it’s another appealing aspect of this lonely character navigating her way through her unusual existence on the tightrope of social norms.

4. Tyrion Lannister

“You poor stupid blind crippled fool. Must I spell out every little thing for you? Very well. Cersei is a lying whore, she’s been fucking Lancel and Osmund Kettleblack and probably Moon Boy for all I know. And I am the monster they all say I am. Yes, I killed your vile son.”

Everyone loves Tyrion, and how can they not? He’s one of the wittiest and most intelligent characters in the series, and the first stumbling block when it comes to which side we should root for. While he was always one of my favourite characters from the start, factoring in his complex family life and struggles on account of his dwarfism (and later the maiming of his already ugly face), my favourite part of Tyrion as a character is how all the things we love about him are flipped on their head in ADWD.

Tyrion tells us in AGOT to wear your shame like “armor and it can never be used to hurt you”. It’s an empowering statement, but throughout ASOS we see how insecure Tyrion still is inside, and his ignoble treatment at the hands of his father and the people as a whole in the kangaroo court for Joffrey’s murder, can, ultimately, be boiled down to his being a dwarf. His armour fails him, and he is still utterly unable to be loved, appreciated, or respected by anyone. Only by Tysha, as he finds out, who is now lost to him - ripped from his hands by the machinations of his father and the one family member that Tyrion still loved, his brother.

It’s at this point that Tyrion is never the same again. He murders Shae in cold blood, and he murders his father, and he regrets none of it. He is becoming the monster they said he was.

When we see him in ADWD, the dark side of Tyrion that had always been hidden behind the hope he had clung onto creeps all too shockingly for the surface. His jokes are now too cynical to laugh at, dark and disturbing and cruel. He uses his intellect for no greater good beyond his own personal amusement, deliberately influencing Young Griff to attack Westeros prematurely just in the hopes that his sister might get the axe. He is on no side but his own, acting brazenly irresponsibly as he has no interest in the grand schemes others have set out for him, or even in his own life. The chips on his shoulder are now genuine murderous intent, daydreaming about raping and killing Cersei and mounting Jaime’s head on a spike next to her. Where Tyrion’s whoring habits had seemed roguish and humorous before, in Essos he is depicted raping clearly reluctant sex slaves.

What makes this all the more disturbing, and all the more literarily brilliant, is that it casts aside the biased curtain we had seen Tyrion through before, and the result is shocking. How much more free to consent is a Westerosi prostitute than a Pentoshi sex slave? How worthwhile were the barbed comments he made so frequently when they ultimately led to a litany of testimonies against him as soon as he lost his privileged position? The worse devils of Tyrion’s nature come out in full force, and we see much more of the black of the character Martin described as “the grayest of the gray”. Perhaps the difference now is that Tyrion’s POV lacks a single element of self-love. The readers are repulsed by him in the same way he repulses himself.

Nonetheless, Tyrion seems to be rekindling something of a purpose in ADWD, as characters nurture themselves back up from the wreckage in the aftermath of the War of the Five Kings. He has lost the Lannister’s golden influence, but his silver tongue still serves him well. However, we may never see the old Tyrion again. This Tyrion has not repented for the vile things he has done, or the vile things he intends to do. He was caricatured by the citizens of King’s Landing as an evil advisor whispering into the monarch’s ear - this may become something closer to the truth when he at last meets with Daenerys.

3. Jaime Lannister

“Does my lord wish to answer?” The maester asked, after a long silence. A snowflake landed on the letter. As it melted, the ink began to blur. Jaime rolled the parchment up again, as tight as one hand would allow, and handed it to Peck. “No,” he said. “Put this in the fire.”

Who saw a Jaime POV coming? What an incredible way to open ASOS after the prologue, to see things from the eyes of one of the series’ most notorious villains. I don’t think I need to explain at length how impactful it was to gently peel off the layers of Jaime’s character, revealing the true reason he killed Aerys, his growth in his interactions with Brienne, the embodiment of the chivalric values he abandoned, and most significantly, losing the hand that was his entire identity and vanity. Anyone who has read the book or watched the show can relate.

Since then, he continues to fascinate. He is discovering talents beyond swordsmanship, entering into a negotiation even Tywin could have been proud of. He has learned how to use his bad reputation for nobler ends, scaring Edmure Tully silly enough to end the siege of Riverrun without shedding a single drop of blood. He is still fighting for a Lannister king, true, but that is only staying true to his role as Kingsguard: now that he has lost his sword hand, he is discovering what it means to be a knight again, in an unconventional and thrilling way.

I chose the above quote because it captures the beauty of AFFC Jaime, breaking away from the sister he fought so hard to return to and decisively cutting out her influence for good. In Jaime’s reverse knight’s fable, refusing the call of the damsel in distress is one of the most upright things he has ever done. How fitting that he should then meet up with the woman who influenced him to take the other path - only she seems about to betray him, too…

It will be so interesting to see Stoneheart’s perverted justice on a character whose head we once wanted on a chopping block but now want to survive at all costs. I don’t think Brienne will be able to follow through with it to the end. After all, Jaime must live on to fulfil a certain prophecy…

2. Euron Greyjoy

“The bleeding star bespoke the end,” he said to Aeron. “These are the last days, when the world shall be broken and remade. A new god shall be born from the graves and charnel pits.”

It’s common enough to hear writers and critics talk about how your villain can’t simply be evil, and that they need to have sympathetic motivations or else they’re badly written. I think that’s true sometimes, but only when your evil villains fail to capture the raw horror of what evil really is - that’s when they feel wooden or cartoonish. To successfully capture that heart of darkness, however…

That is what George R.R. Martin achieved with Euron Greyjoy, the most terrifying character I have ever read.

Everyone underestimates Euron. They know he’s mad, but they don’t know how mad he is. They think they can outmanoeuvre him, like Asha, or betray him, like Victarion. They think he’s lying when he says he’s sailed to Valyria and means to conquer Westeros with dragons. Only Aeron knew. Only Aeron knew the depths of Euron’s depravity, and how far he means to fly. Because he’s the only one who heard the scream of the rusted iron hinge.

The Forsaken showed that it was all true, that Aeron was right all along - that he, like the oracle Cassandra, warned the Ironborn but was condemned to be ignored. Euron has an ambition unparalleled by any other character in the series - he means to turn himself into a god. He’s the only one depraved enough to go to the lengths it would take to make that dream a reality.

We should fear Euron, we should fear him very much. And yet, I think his dreams of godhood can never fully come to pass. He is, after all, still a man - still fallible, as we saw him shrink away at the Reader’s reprimand in The Reaver and change his tactics accordingly. His humanity will be the death of him - not any goodness in his heart, but a weakness common to the human creature. The dragons he means to dance with, and potentially the Others too as some theories go, will move at a pace beyond those mortal legs.

His attempt to fly will inevitably end with a fall. But that headfirst plunge will take the Seven Kingdoms with him.

1. Stannis Baratheon

“I know the cost! Last night, gazing into that hearth, I saw things in the flames as well. I saw a king, a crown of fire on his brows, burning… burning, Davos. His own crown consumed his flesh and turned him into ash. Do you think I need Melisandre to tell me what that means? Or you?“

Here is a man so totally dedicated to his duty that he is willing to do whatever it takes to accomplish it, even if it means his own destruction.

He is a character that believes in justice and the word of law more strongly than any other, and watching his dogged persistence to put a corrupt world to rights no matter the odds has always struck a chord with me, especially in this world teeming with such selfish and barbarous characters.

He is not such a performer as other characters, not as openly humorous as Tyrion (though lowkey he has an incredible dry wit), nor as pretty as Renly, nor as lighthearted as Littlefinger. He’s a dour person, hard and unpopular. But if you listen to the conversations he has with Davos, there is an incredible heart to this man who has placed all the troubles of the world on his own shoulders, and strives through cold and stormy weather to make the best, most just decision he can for no other reason than that - because it is just. Justice is hard, sharp and unyielding, not pretty, not humorous, not lighthearted - but necessary. In a king more than anywhere else. That’s why those who do follow Stannis, like Davos, follow him with such faith and loyalty.

He often proceeds about this goal in questionable ways, compensating for the imperfections of his forces and of his own personality. This is the rickety bridge Stannis walks on, as a man who will go to any means necessary to accomplish what he feels must be done. Sometimes this might mean unleashing dark forces better left locked up, sometimes it might mean committing so terrible a sin as kinslaying, sometimes it might mean sacrificing a child to awaken stone dragons - and sometimes it will mean rescuing the realm from a wildling incursion when no other king cared.

Moments like that unforgettable “STANNIS! STANNIS! STANNIS” stick so powerfully in my memory because, much like Jaime, the real virtue of this character had yet to shine so brightly as it eventually would in ASOS. Something which had always been there takes us unawares. And he is evolving, too, ever becoming more flexible, more willing to compromise, more hesitant to burnings, more dedicated to the good of the realm over himself.

And there is a whole other layer of tragic pathos that lies behind his character. Try as hard as Stannis might, and God does he try, he is not Azor Ahai, and every reader knows he will not sit the throne at the end. Even Stannis knows where this road will leave him. But he persists anyway, in the face of death. The courage of that, the self-sacrifice - how can one not be moved by it?

One of the finer points of Stannis that often goes missed in (understandably) overzealous attempts to correct the show’s butchering of his character, is that there is a part of him that does want to be king. He’s lived in Robert’s shadow his entire life, as Asha thinks to herself in ADWD, and there is a part of him that does yearn for recognition. Quotes like “Robert could piss in a cup and men would call it wine, but I offer them cold clear water and they squint in suspicion and mutter to each other about how queer it tastes.” reveal that, I think.

So this is a whole other internal battle within Stannis - he must be careful not to allow his judgement to falter against the part of him that is jealous of Robert, of Renly, that wants to be the hero Melisandre says he is. This very human aspect complicates further the already complicated war between deontological and utilitarian ethics that wages in his head, with Davos and Melisandre as their respective spokesmen. Much as he may want to be a perfect king and avatar of justice - he is still human.

The depth and tragedy of Stannis Baratheon is Shakespearean. My heart shatters in advance for the moment Stannis has made his greatest sacrifice of all to halt the advance of the Others (not the Boltons, he’ll flatten them like pancakes), and for it to do nothing, nothing at all. For him to realise he was never the hero of this story, and that now he has gathered all this blood on his hands where there is no spring to wash them in.

A man so just as Stannis could never forgive himself. But we, the readers, shall never forget the battles he fought as an axle of this universe striving to be something greater.

Honourable Mentions to Aeron, Victarion, Barristan, Jon (Snow and Connington), Cersei and Brienne. Yes, I really like the Greyjoys 🦑.

[the-citrus-scale]

Chaotic Neutrals: The Walking Dead Edition

Fandom always seems to flock to morally gray characters, or as we call them here at The Citrus Scale, chaotic neutrals. The Walking Dead, in particular, is a fandom made up pretty much only of chaotic neutrals, but some are a little more chaotic than others. In this edition of our feature, we’ll talk about my personal favorite chaotic neutral, Negan, and another character very similar to him that many might not view as a chaotic neutral, Rick Grimes. Negan and Rick both do many, many questionable things throughout the series that fans attempt to justify for the sake of not vilifying them. This is why they are both great, albeit infuriating, characters.

Analyzing any character from The Walking Dead is a little tricky. While most of them originally lived in a world that functioned like ours, they don’t live in that world anymore. Their rules are dramatically different. With Negan and Rick, there’s also another layer to worry about, and that’s the fact that they’re foils. That means that their backgrounds and character arcs mirror each other, but are just varied enough to highlight the differences between them. You also have the wrinkle of comics vs. television show. At this point, it’s really best to consider each version as separate from the other. There are too many differences in character development and plot that make it disingenuous to try to smash everything together and analyze it that way. Therefore, we’ll be talking about the television show versions of these characters today.

Ultimately, in the question of who’s better, it’s really a wash and Negan and Rick end up about the same. We know, we know. It doesn’t seem possible, right? Well, trust us, it is. Negan isn’t as bad as everybody thinks he is, and Rick isn’t as great as everybody thinks he is.

That’s largely because the two men are very similar. Both Negan and Rick had positions of authority in their original roles in the world. Negan was a teacher and Rick was a cop, and these professions show in the way they treat people. Negan views others during the apocalypse as in need of a protector and organizer, someone who will tell them exactly what they need to do to stay safe and thrive. However, much like a teacher in a classroom, Negan isn’t afraid to make his own rules. Rick sees himself as policing a societal structure that already exists, the same structure that the original world operated on. He is also very focused on actions that we would call illegal, despite the lack of that structure in the new world, whereas Negan is concerned with all actions and how they affect the whole. Rick is mostly concerned about those closest to him, particularly his family, and he has shown repeatedly that he will prioritize their safety over everything else. Negan, on the other hand, since he has no family left to care for, leans more toward the welfare of everyone, not just one person. Regardless of their methods, the big similarity between these two is that they are both working towards the same goal. They both want to reestablish order in a world that no longer has any. Their methods may be different, but they want the same result.

What fans generally take issue with, though, is that methodology, and that’s because, quite frankly, both Negan and Rick’s motivations do not excuse any and all actions. Justifying the protection of a few key people is not enough to warrant jeopardizing a larger group, but the protection of the larger group doesn’t excuse any and all actions either. It also doesn’t necessarily mean that Negan’s actions aren’t justified just because he has no family to protect. Both men, at various points, say that what they’re doing is for the greater good, but that’s not a blanket excuse that can be used to bury all sins. It’s also very easy for fans to argue that an action was justified because they know the result, but when you’re forced to consider all the ways that situation could have turned out, the justification becomes murkier. It’s also pertinent to point out that Rick’s supposed commitment to democracy, which conveniently vanishes when he doesn’t get what he wants, by the way, also does not make anything he does more excusable simply because we think we’d like his system better.

But I’m sure you want some specific examples, don’t you? Sure you do. Let’s break these two bad boys, so to speak, down.

Negan’s a little easier to tackle, so let’s take him first. Negan runs The Sanctuary in The Walking Dead. It is arguably one of the safest communities we see during the course of the series, especially considering that it’s heavily implied that Negan has been there for a long time. In addition, the people in The Sanctuary are actually equipped to deal with the apocalypse, unlike, for example, Woodbury, where most of the inhabitants lived in ignorant bliss and were unprepared for what happened when their walls came down. Rick tried to establish a permanent community like that from day one, but he never really managed. Even Carl is impressed by what Negan has built during his visit. This alone lets us see some of the good in him. However, Negan’s primary means of control are extreme psychological warfare and violence, which leaves a lot of fans with bad tastes in their mouths.

Certainly violence is justified in the new world of The Walking Dead. Pretty much every character has to use it at some point, no matter how hard they try not to. And don’t get us wrong, a lot of the people who have violence directed towards them on the show deserve it. But how much is too much? Clearly a line can be drawn. While Negan doesn’t resort to violence unless it’s the absolute last thing he can do, the fact that he starts off his interactions with other communities with threats still doesn’t sit well. Although Rick’s diplomatic approach doesn’t always have the best outcome either (Terminus, anyone?), it seems like there should be some sort of happy medium. This could lead to some less unsavory methods of running The Sanctuary for Negan as well. Maybe a little more freedom within his system would be good for everyone.

Not that Rick is running things much better, really. Let’s put his multiple failures aside for the moment and focus on a few key instances when he goes, well, a little bit off the rails. The first is when his group is staying at the prison. Rick, Michonne, and Carl come upon a lone hitchhiker who runs after their car asking for help. They drive past him not once, but twice. Later, they find his abandoned bag by the side of the road and simply take it without another thought. And okay, we get it. Other people are potentially very dangerous in this new world. But this was one guy. And they were living in a prison. A prison. With cells. That they could close and lock. They kept Merle Dixon, a known threat who was working for their enemy, in one of those cells, and they couldn’t give this random guy a chance? Just letting him die seems unnecessarily cruel. At The Sanctuary, he would have at least been given a chance, and his fate would have been up to him.

Then there’s Alexandria. When Rick and the others arrive at Alexandria, it seems like a dream, but Rick and his group quickly decide that Alexandria is being mismanaged. Despite his supposed commitment to democracy and making the world a better place, Rick simply says that if Alexandria won’t do things the way they like, they’ll just take it over, which is exactly what they do. Now, we’re not saying that Alexandria wasn’t being mismanaged, but this seems like a pretty rapid escalation, and if it was being done to Rick, he certainly wouldn’t have liked it. It was a power move, and it worked out in the end, but that still doesn’t mean that it was justified.

Which brings us to Oceanside. Yes, Simon definitely overstepped when he culled the population of Oceanside. No doubt about it. But it wasn’t Negan’s order, and he didn’t condone it, so let’s put that aside for the moment. What we do know is that Rick marches into Oceanside and demands that they comply with his demands. He wants to take away all of the defenses of a terrified group just because he wants to fight after he let Negan take away all of his defenses, and he somehow thinks this is justified because he’s fighting their former oppressor, and is therefore the ultimate hero crusading for the greater good. Um, no, Rick. Just no. When Oceanside disagreed and didn’t want to do it his way, he made them get on their knees just like Negan made him get on his and he took what he wanted. Not the greatest move, dude. For all his talk about doing the right thing, Rick is definitely willing to step into the gray when it gets him what he wants. That is not being a good leader. We’re not saying that means he doesn’t ever do anything good, but he’s not the morally upright character everyone imagines him to be.

But Rick often receives the gift of the morally upright image because of other traits that make Negan seem a little less appealing from that same perspective. Specifically, we’re talking about his wives. Negan has multiple wives, and since we don’t see a lot of them in the series, the implication we’re left with is that these women trade sex for survival. While it’s fairly obvious why this arrangement gives viewers pause, it’s also hard to really judge Negan on it when we don’t actually know how it operates. Despite the implication that the trade is sex for survival, there is never any confirmation of that. None of the wives mention that sex is part of the deal, and the only sexual contact we see between Negan and any of his wives is one kiss that was clearly more about psychology than desire. I have a personal theory about this one, in fact. I think that the wives are not about sex at all. I think they’re Negan’s loophole to help those who might not be able to support themselves within his system because they don’t have skills that are particularly useful in the apocalypse. Frankie, for example, was a masseuse. Well, that’s not really something people are going to be looking for in this new world. But Negan likes massages, so he lets Frankie trade them for survival. Okay, okay. It’s a headcanon. But it could make sense, right?

And we can’t forget where these characters are now in this discussion. Negan is obviously not devoid of morals. He cares about people, even if it’s in an abstract way, and his particularly vicious stance against rape is something any woman can honestly appreciate. And no, these things don’t excuse his character flaws and actions. But in the end, Rick doesn’t learn as much as Negan. His victory and subsequent torment of Negan simply teach him that his unilateral decision-making was right in the end. Yes, he sacrifices himself for the people he loves, and that is admirable, but Rick hasn’t changed that significantly since the beginning of the series. Negan, on the other hand, has had time for self-reflection and has come to realize his mistakes. He has already proven that he’s capable of redemption, and hopefully we’ll see some more from him before either his character arc or the television series is over.

No matter what, the moral of the story is that while both characters are flawed, you are allowed to like them, and no one is allowed to demand that you explain why or make a case for why a character is good enough to be liked. You do you, and they can do them, and no one has to get in anybody else’s way.