#i love how these books both make them seem gayer and also less gay at the same time depending on the scene

[emrysmoss]

I looove how they had to describe this line in the Merlin books as Arthur giving a “forced, tight smile” because if they described the way he actually delivered this line they would have no reasonable explanation as to why he says it so fondly…..

[numberonenat]

kagakuro canon?

okay, this post will be a compilation of evidence and arguments on why i actually think kagami and kuroko is a canon pair.

disclaimer: they're not even my fav ship (it's midotaka), i'm really doing this cause i can't stop thinking about how canon it seems... (and cause it's fun)

translation: "i'm very happy i met you."

right, so...let's start with the basics, shall we?

their relationship

well, i haven't watched many sports animes but kuroko no basket follows a classic plot that we all know:

two main protagonists that don't know each other enter a random and medium team, both with a goal. one is a prodigy and the other one is really bad at first sight but when combined with someone else they really show their potential.

yeah and in the end that "someone else" is mainly the other one, obviously. they always have that "we complete each other" talk and that's the whole plot.

we can see that in haikyuu, yes (and i've only watched a season and a half by pure pressure), but in knb we see that too.

kagami's the prodigy and kuroko is the "weak" one, their goal is to play against all of the members of the generation of miracles and win. they can only do that together, that's the start of everything!

in knb's case the plot is much more interesting than that, but it is still what the anime revolves around.

them being together is what makes them strong. they need each other to get in their best forms and they will stay together. kagami's the light and kuroko's the shadow. they're complementary.

i'm sorry, but that's a gay plot. - really, i've only watched sports animes with a canonically gay main characters, like sk8 the infinity and yuri! on ice, or with this fking sus idea that is litteraly the plot of the anime (i WILL say that it's even gayer than the gay ones. IT'S THE MAIN IDEA).

but that's only what i think, right? so let's proceed to actual arguments and evidence.

first things first...

them and the girls.

kuroko and kagami both show little to no interest in any girl in the anime, while all of the other seirin members and a lot of other characters do constantly.

momoi for example;

she's in love with kuroko and makes it pretty clear. on the other side, he also makes his disinterest clear, still treating her well cause he's a decent person, of course, but always letting her know he doesn't like her back.

in kagami's case, while every other seirin guy totally drools over her - even junpei, who has shown to have feelings towards riko - he almost ignores her existence. moreover, he's even judged by the others for 'not knowing how to treat girls' in one of their few interactions.

and you could say it's like aomine; momoi's even his type but he just doesn't like her. it's a normal thing. they care for each other and see one another like brothers, there's no romantic feelings. kagami and kuroko could just be the same towards her.

but that's why i have more arguments, obviously.

before that tho, there's alex too. there's nothing much to say since anyone would be uncomfortable in being kissed out of nowhere by someone in their 30s especially when youre a minor. and kagami does, even tho he's already used to it.

i just think it's weird for the author to make this much fan service towards her, making her be naked around his house and stuff, and make him, the main 'victim' of that fanservice inside the anime, be uncomfortable (even riko blushed when she kissed her).

we all know that it's not only "how americans are seen in japan", it's pure fanservice. it's already problematic. he isn't trying to make it less problematic by making kagami uncomfortable, that's just how kagami is.

the character's bible.

now we're starting to get somewhere.

for those who don't know, kuroko no basuke characte's bible is a book that contains canon data about the characters. we also have some interviews, with diferent questions that are answered by the characters.

one of those questions is what their types of girl is...

kuroko: gentle people

kagami: stable gir……person……

kise: a girl who won't tie him down

midorima: older

aomine: girls with big bust

murasakibara: tall girl (if taller than me, then forget it)

-> credits of the translation: pika318 @/mangafox

the only ones that dont especify gender, even tho asked for type of > girl < it's kuroko and kagami.

you may think midorima is included but actually not (still have my own headcanon ofc but)...

think of it like asking someone for their favorite type of fruit. "sour" is an ok anwer, you don't need to specify saying "sour fruit". but answering you like "sour food" instead it's another thing, it's weird... like you purposely said it to indirectly say you don't like fruit or you simply like all types of sour food.

it was a weid example but y'all understand my point, right?

it's even more weird since kagami was going to say girl, but hesitated. like...why? why would he hesitate and then change it to "person" for no fking reason? sorry, it's too sus for me.

ok. then there's the relationship pages. kuroko and kagami's (obviously) to be more specific.

kuroko's:

aomine: old partner

kagami: current partner

momoi: girlfriend?

kise: friend

murasakibara: friend?

midorima: this person is difficult to deal with.

kagami's:

himuro: brotherlike

kuroko: partner

midorima: he annoys me

aomine: i’ll get revenge

kise: 「kagami-chi」 !?

alex: teacher

-> credits: fuyuyuu here on tumblr

okay, this doesn't prove anything by itself, and as is writen "old partner" (wow i cried) in aomine on kuroko's one we know that this means partner as in basket of course.

also! don't mind the "girlfriend?" in momoi, she refers herself as kuroko's girlfriend (that's why it's there and with a question mark) but that's all. it's canon that he doesn't like her, like i said, and they don't end up together. (ofc it's okay if you ship them duh- i'm literally doing a whole blog on kagakuro, i'm not the one to judge)

i just think it's a great addition, i couldn't leave it out of here and it's also SO cute even platonicly, c'mon.

and it also adds to the idea that they "complete each other" as in the sports anime plot.

people who they get along the best in their current team:

kuroko: kagami

kagami: i spend most of my time with kuroko

kise: kasamatsu, but he kicks me

midorima: takao, but he's my servant

aomine: sakurai, because his bento is delicious

murasakibara: himuro

-> credits of the translation: pika318 @/mangafox

there's also this...and it's kinda obvious but it's still cute.

and that's what i have from the character's bible...

the manga / anime itself.

okay, we've seen a lot of stuff now, but let's go to the thing that actually made me wanna do this post...

i was rewatching knb normaly until this happened:

translation: "i know one! they're so cute as a couple."

at first, i just laughed and imediatly took this picture to show my friends how canon they are (as a joke at the time). i was using my computer to watch and for some reason i can't connect my netflix account on it, so i was watching in a pirated website.

in this types of site, the subtitles are often translated by fans and since they are made by non profecionals, they always have a lot of mistranslations and typos. some fans like to purposely chance the translations too to make it more funny in some situations.

so after a while i figured i HAD to know if it was real cause i didn't remember to have seen this at the first time i watched.

i even took notes of what episode that was to check later in my tv's netflix, in both my language and english subtitles... but i am impatient so i did my research.

-> credits: luna~ on anime amino.

i found this.

i tried to enhance the quality of the picture so we can see better...

in case you still can't understand what izuki's saying: "aww, so cute! wait, they're not a couple...!"

yeah, the translation is not exactly the same, but just look at this, seriously. at least we can say izuki ships them, lol. that's more than something, right?

i'll still check the subtitles and the dubs when i can just to know what it's said there, but yeah...just...look.

also, there’s this scene in the middle of the seirin x yosen game where kagami says to kuroko: “besides, between my past with tatsuya and my future with you, it’s obvious which is more important” AND IT’S SO CUTE this scene lives in my mind rent free i love them so much even platonically-

well

lastly, i'll just leave here scenes where they're being cute cause i casually record them...and since i have it feel like i need to put them here...

cute!!! them fistbumping fistbump part 2

translation: "are you okay?" "damn"

i could only upload one so yeah, this is the best one, look at them.

like i said, this was only for fun since they'll probably never be confirmed...i have nothing else to do in life so i do this knda stuff YAY hope you all enjoyed it :)

english is not my first language so let me know if i make any mistakes.

i will continue rewatching and if i find something else i'll put it here!!! if you know about something else too, feel free to say it! (i actually beg you to)

[franniebanana]

CQL Rewatch - Ep 23

Seriously, how useless are these two right now? The puppets all dropped dead around them, yet none of them run up to help Wei Wuxian. I think we saw Lan Wangji running, but he just had dramatic close-up shots for the first few minutes as well. Like, stop looking dumbfounded and stop just providing facial reactions to things, and get up there! Act like you're in a war, gdi! They're reacting to seeing Wen Ruohan stabbed, which I chose not to cap for obvious reasons.

So even though I knew the story from the book, I still think this moment is pretty cool when they reveal that it's Jin Guangyao who has stabbed Wen Ruohan literally and figuratively in the back. The last time we saw him, poor Nie Mingjue was getting the crap beat out of him by Jin Guangyao, so seeing this here--like, ooh! Double-double-cross! Triple-cross!! It's fun to see a twist that doesn't make you groan! Because, of course, you want to root for Jin Guangyao because he's a bastard and has always been looked down on everyone. Now you see that he was not a villain at all, and he was actually helping the good guys by double-crossing Wen Ruohan! Of course, we know he really is a villain and all, but most of that really doesn't come until later in the story haha.

I do enjoy the light parallels here between Lan Xichen and his brother. We see both of them willing to give their best friends the benefit of the doubt and protect them from those who are less willing, let's say. And both of them are even willing to stand up to other people they know and trust. Nie Mingjue is one of Lan Xichen's closest friends, and we see Lan Wangji stand up to his own uncle. If you're looking at CQL without the romance angle (which, why would you?), this parallel is a bit more striking. You basically have two sets of bosom friends. Obviously one set crumbles at the end, but there are definitely a lot of parallels and comparisons to make. And sorry, for a show that couldn't have any gay characters, they sure made it seem like Lan Xichen and Jin Guangyao had a thing for each other (even though neither of them is gay in the book, mind you). A weird sort of change--I don't even ship them, but their early scenes seemed very shippy. Maybe it's my American lens, I don't know.

But speaking of weird changes, allow me to go on a tangent. Wen Qing's role expansion doesn't bother me, not really. I kind of say it does, but it's not really the expansion that gets to me. It's the fact that she was going to be a love interest for Wei Wuxian that bothers me. Wei Wuxian is gay. He's gay. Lan Wangji is also gay--if not gayer. Her being a love interest for either one of them means they are no longer gay. Bi, maybe, but what that would have done was erase their canon sexuality. It would have also turned their relationship into that horribly tropey brothers-in-arms or whatever name you want to give it--basically JUST FRIENDS who want to defend each other's honor. You can certainly read CQL that way, but if you are, I don't think you're paying attention to Wang Yibo's performance at all. And if you're not paying attention to the second lead, then why are you watching this show at all? So, changing their sexuality changes the whole show (which already is so tropey, from what I understand) into something so derivative, I wouldn't even want to bother watching it. One of the things I think you take away from CQL is Lan Wangji's, frankly, undying love for Wei Wuxian. If he goes and has a fling with Wen Qing at any point, that cheapens his character dramatically in my opinion. Lots of people can say this better than me, and probably have, but I'm very grateful to those passionate fans (and to Xiao Zhan and Wang Yibo) for helping to change the script from the original drafts, which were frankly no better than a junky harlequin romance, having Wen Qing passed around like a piece of meat, which is so far from her character in the novel, and definitely a disservice to her.

Not gonna lie, it's adorable to think that Jiang Yanli and Lan Wangji have been talking over the past few days, maybe having tea together, while Wei Wuxian is in a coma. I feel Lan Wangji was a very calming presence for Jiang Yanli, because she was probably very worried and fretful over Wei Wuxian. I like the idea of him playing the guqin for Wei Wuxian, and then having tea and a quiet chat with Jiang Yanli before leaving. Also very cute that Wei Wuxian is half-heartedly trying to badmouth Lan Wangji, by calling him boring and uninteresting, but he can't even get through the sentence without smiling to himself. Obviously he's loving the idea that Lan Wangji has been at his side every day, worrying over him and slowly doing his part to nurse him back to health.

I love his expression here: shock and relief and joy, all mixed together upon seeing that Wei Wuxian has woken up. Obviously he knew he'd wake up eventually, but he didn't expect it so soon and I don't think he expected his heart to be in his throat and to be so indescribably happy to see Wei Wuxian awake.

Wei Wuxian, of course, can't really meet his eyes, and Jiang Yanli makes a swift exit (she knows what's up--these boys need to talk). And Lan Wangji just has love in his eyes: Heart-guang Jun. I mean, imagine how he must be feeling right now. He had just gotten Wei Wuxian back from what seemed like certain death, finally reconciled, and then Wei Wuxian is in a coma! He must have been terrified of losing him again. It's probably all he can do right now to not hug Wei Wuxian.

I seriously love everything about this scene. I love the colors, the cinematography, the longing glances Wei Wuxian gives Lan Wangji, the way Lan Wangji quietly scolds him while still playing the guqin because he's a professional. But really, I just find this scene very pretty and moving and emotional. I enjoy seeing Lan Wangji getting to take care of him and even more that Wei Wuxian lets him and puts up with it. I think most of us are quick to retort a good old, "I'm fine" when asked how we are, but in this case, Wei Wuxian is not fine, and he has no ground to stand on if he's trying to prove that. It's hard for Wei Wuxian at this point, though, to really lean on anyone, even Lan Wangji who is his best friend. He certainly can't lean on Jiang Cheng for reasons I don't think I need to go into again. He kind of leans on Yanli, but at the same time, he can't (and doesn't wish to) burdon her either. Lan Wangji is really the one person he should be able to lean on and seek comfort from, but he feels awkward and uncomfortable, because of the dark spiritual energy and giving up the sword, and Lan Wangji's crusade to help him.

"Who is good and who is evil?" Wei Wuxian is struggling with a moral dilemma: is it right to round up the Wens and kill them/hold them captive? The Wens did horrible things, after all, and this is the reality of war. Of course, we've just seen Lan Xichen struggling with it as well. Why capture the women and children and elderly, who have nothing to do with the war? He's only met with the fact that it's not just the male cultivators who are dangerous. Still, his mind is only placated by the lie that the people will just be interrogated and sent to a labor camp--then cut to the blood on the floor. So Wei Wuxian is not only struggling with what the Jin Clan and other clans are doing, but he's also thinking about his own deeds--how many people did he kill? How many did he brutally murder in the name of revenge? Because of the things he's done, is he good or evil? Is good and evil so black and white? Does it just depend on whose lens you're viewing it through?

Lan Wangji looks at Wei Wuxian with all of this knowledge and doesn't know what to think. He's afraid of what Wei Wuxian has become, afraid he'll end up like Wen Ruohan--he's afraid of losing him entirely. But the situation is not black and white, and good and evil is not so easily defined. You can only know once you know that person's heart, and Wei Wuxian isn't really letting Lan Wangji in anymore. He's trying to convince him with his words, but that is simply not good enough.

I think if Lan Wangji hadn't stopped him here, Wei Wuxian would have played that flute and tried to end all of the Jin "hunting party" (sorry, that was a little dark). His emotions were already high after the conversation with Lan Wangji on the cliff, and we've already seen him feeling disturbed by how the Wens are being chased and rounded up. I, for one, wouldn't have complained if Jin Zixuan's cousin bit the dust earlier. I think his name is Jin Zixun. Is that it? See, even I don't remember him.

I love how even though they are far apart, this scene still feels very intimate. It's very moving, and the music and the cinematography help to cultivate that feeling. I like how Wei Wuxian perks up when he hears Lan Wangji pluck the first few notes, and Lan Wangji does the same when he hears the sound of Wei Wuxian's flute. I feel like they are spiritually connected here as they play this haunting duet. And I think it's a connection they haven't felt for a long time. There has been so much tension between them for so long, and this scene feels like a big sigh from both of them. While I still feel like there is tension present, there is a bit of a release here--at least, that's how I feel as a viewer.

Ah, yes, the awkward period where Jiang Cheng has become leader of the Yunmeng Jiang Sect, wants to control Wei Wuxian, but doesn't know how. He's new at this, so I can't blame him for being a bit awkward as he figures out what he's supposed to be doing. As a young man, he basically nagged Wei Wuxian for doing inappropriate things, but now when Wei Wuxian misbehaves, Jiang Cheng is in part responsible for that behavior. At some point or another, the two of them grew up. Wei Wuxian's misbehavior isn't precocious anymore--it's serious and it has consequences, and just as in Gusu, Jiang Cheng sees that those actions are a reflection of the Jiang Clan. Only now, they aren't just a reflection of the clan, they're also a reflection of Jiang Cheng, himself, and his leadership (or lack thereof).

And speaking of awkward...Wei Wuxian and Lan Wangji have some...unresolved...stuff to deal with. But God forbid they actually talk right now. How can they? They're at this stuffy banquet that neither one of them want to be at. I feel for them both. Wei Wuxian is hurt because he thinks Lan Wangji doesn't trust him. Lan Wangji feels terrible because he wants to help Wei Wuxian, but the latter won't really let him in and allow him to do so. I feel myself just on pins and needles during these scenes with all these glances, but at the same time, I love it because DRAMA and ANGST! And they're just so in love lolol.

Nie Mingjue has to be that guy that always wants a certain table. The waiter leads him over and says, "Is this table okay?" expecting the answer to be yes, but nope--not Nie Mingjue. He'll request a different table. XD

I love this little conversation--it's like they're both measuring each other up. I think they each have a healthy distrust of the other. Although Wei Wuxian has always been kind to Jin Guangyao, I don't think that discounts the whole demonic cultivation thing in his mind. He knows Wei Wuxian is smart and clever and, most importantly, capable. And as for Wei Wuxian, I don't think the ease in which Jin Guangyao manipulated Wen Ruohan is lost on him.Essentially the downfall of this great cultivator and enemy of all the other clans was due to one man: Jin Guangyao. I think Wei Wuxian is thinking the same thing I am: he's extremely clever, devious, and potentially dangerous if you get on his bad side. His rise to power within the Jin Clan is kind of amazing. His estranged father admits to Nie Mingjue and Lan Xichen that Jin Guangyao is his son, his station has improved drastically in a short amount of time. He sure as hell is dangerous.

Jiang Yanli can hardly contain her excitement when Jin Guangshan brings up her former engagement to his son. Just kidding, of course. I'm kind of horrified for her that he's bringing this up now in front of all these people. It feels very much like he's pressuring not only her, but also his son to get engaged again. First of all, Jiang Fengmian and Jin Guangshan agreed at the time to let the children decide whether they wanted to get married or not. Second, if you're going to talk about this, at least do it in private! Third, this is not letting the kids decide. God, this would be humiliating! And I also totally expected Jiang Cheng to speak for his sister here, so I'm glad he didn't do that. It's really none of his business either.

Lol! The weird cutoff here! Who's speaking??? I don't know!!! I mean, obviously, it's Wei Wuxian, but it's like they don't expect us to recognize his voice hahahahaha.

Other episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | Or just check out the #CQL Rewatch hashtag

[multsicorn]

book-and-show

My preferred mix of the two canons is basically ‘The Untamed, but Wei Wuxian lost control of his zombies by his own goddamned self, and also plot/logic holes are taped over by explanations from the book when needed and possible.  And we know that wangxian are together and will be married, but we're left with spaces to fill in the details.’  (One of the cool/interesting things about having multiple versions of a canon is that one can mix and match!)  But there are definitely things that I prefer, separately, about each.

[two very long lists.  all of which are all about personal opinions/preferences, and none of which are looking to start discourse!]

Eight Things I liked better about the show:

1. "Who am I to you?"  "I had thought, that you were the one who knew me for my whole life."  "Still, I am." is *twenty zillion times* more romantic than a stolen blindfold kiss, in a way that pretty much encapsulates why I so much prefer show to novel wangxian overall.  And in this TED talk - I mean, in another post, hopefully, in not too long, I will.

2. Lan Wangji's explicit questioning of and overturning his understanding of 'what is right, and what is wrong,' rather than simply being motivated by 'if loving Wei Wuxian is wrong, then screw everything else.'

3. Introducing so very many characters earlier in the chronological timeline, and showing us more about them and their relationships prior to Wei Wuxian's death - and outside of the key moments in which they're involved in the plot.  Wen Qing and Wen Ning, Jiang Yanli, Mianmian, Songxiao, Xue Yang, Meng Yao - this list could also be its own post.

4. More focus on the Sunshot Campaign and its aftermath, pre-death, specifically on the period when Wei Wuxian is the feared necromancer, and he and his loved ones are dealing with that, against a background of war and then possibly more war.  It's by far my favorite part of the narrative, just because of my preferences re: genres, so I appreciate it being foregrounded rather than just a backstory that's shown in flashbacks.

5. The successive confrontations between Wei Wuxian and Lan Wangji over 'leaving the right path'!  In the courtyard, when Lan Wangji pulls Bichen on Wei Wuxian to make him listen; in the sad umbrella rain, when Wei Wuxian holds Chenqing out in front of him, defying Lan Wangji's efforts to rein him in.  These things probably fall under the umbrella of the TED talk from the first point, but they're the beating heart of WHY I LOVE THIS STORY.  And they're not even in the novel...!  I thank the CQL team for my life.

6. Also, THE COMB STORY.  I'd never have thought either that 'how do we improve an m/m romance novel?  By adding a het romance subplot, of course,' but the fact is that I love the dimension it adds to both Jiang Cheng's and Wen Qing's stories.  Highlighting their shared loyalty to their clans - except not shared, because they're from different clans! - but their shared *understanding* of what righteousness, justice, etc., is, and the way it leads to their tragedies, and the way it's a counterpoint to Wei Wuxian's and Lan Wangji's different and ultimately shared understanding of 'what is right' and the way *that* brings *them* together is just... so good.  I am getting over it approximately never, and, again, it's show-original.

7. And I think the last big thing - other than, the acting's wonderful, imo, the visuals are great, (even the 'bad' special effects? I like 'em kinda ridiculous?), and when the prose-in-translation of all versions is iffy at best, (not judging MXTX's prose! or the scriptwriters'! but I unfortunately cannot read or understand it) it's REALLY NICE to have other major dimensions of the story that aren't lost or diminished in translation.  Honestly, I am only watching cdramas and not reading cnovels (I only read MDZS so I'd know what's in it) for that reason alone.  But in terms of *story* stuff -

8. I think that censoring wangxian's relationship down to the '(really really loud) subtext' level counterintuitively also makes the rest of the story seem considerably gayer.  If wangxian exists in hints and looks and narrative parallels etc., then likewise, so do the 3zun and Yi City triangles.  Not as much as wangxian, but they're more minor characters, and they're on the same continuum... to the extent that I legit thought that songxiao and xiyao would also be novel canon.  (They are not.)  If Wei Wuxian shocking Lan Wangji by showing him gay porn in the library, and commenting on Lan Wangji's beauty, is because he is actually into guys, then maybe Nie Huaisang lending Wei Wuxian that same porn, and also commenting on Lan Wangji's beauty, means the same thing, if that's all we have to go on. etc.

Nine Things I liked better about the book:

1. There's something about Wei Wuxian's narrative voice, the running commentary that he gives about others and most of all himself that is... funny?  Yes, it is, but that's not the part I love.  It's hard to pin down, but the pattern of the things he judges and the things he doesn't judge at all, even though maybe he should, but he really has so much empathy - in the literal sense, I mean, as well as the magical - is very specific and endearing?  He's exactly like that in the show, too, but we hear much less of it when he's not telling the story.

2. Getting to hear A-Qing in her Empathy fleshes out her cleverness and her bravery, again, in a way that's not easy to replicate seeing it from outside of her head.  (I think we may have more of all of the ducklings/juniors, actually, but I'm just not all that interested in their friendly banter.  Not when there's life-rending trauma in the OG of the same story!)

3. From the chronological start of the story, the Wens' domination and power-hunger is portrayed in a realpolitik way that's both more interesting and fits the rest of the story better, with the Jins later filling that same vacuum, and fearing Wei Wuxian's potential to do the same sort of thing to them, etc., as chronologically following and competing different takes on the struggle for power, without any need for the flat fantasy mcguffins of the Yin Iron or the 'spirit snatch.'

4. Wei Wuxian ~appreciating~ Nie Mingjue's dead body parts is hliarious. I love him hanging out with the corpse girls.  I love the Wens risingout of the blood pool for him ;___;.  Overall his relationship withthe corpses that he magics is such a cool weird fun part of the book,that is missing in the show except his friendship with Wen Ning for'let's make a show about necromancy but pretend it's not' reasons.

5. The fact that Wangxian don't split up and go their own ways at the end of the story, even temporarily!  I could go either way on 'Lan Wangji becomes Chief Cultivator' - I like the way that it moves into 'the future will be better than the past, and we'll work to make it that way', in the same way that 'the kids are alright' does, and the fact that Lan Wangji hates diplomacy and is bad at it can make for good amusing stories!  But I also approve of the fact that the personal win condition for so very many of these characters is to peace right the fuck out of sect politics, (like Mianmian our true hero does <3), and I believe in that as a happy ending.

6. Wei Wuxian's and Lan Wangji's complementary ~ravishment~ kinks.  I don't like the exact way they're written in the novel (and extras), but I *will* take and run with the existence of them, nevertheless.

7. The post-resurrection plot makes, um, sense?  Let's not forget the importance of that!  (But, honestly, 'must a plot make sense'?  It's not all that important to me, lol.)   Going from one place to another to collect the pieces of 'our dead friend's' body rather than seemingly at random makes the journey feel purposeful rather than direction-less, and gives an indication of progress that's not simply 'amount of the story read as per chapter count.'  Though it's still not clear to me why the juniors squad needs to be in Yi City!

8. It has more of Wei Wuxian's inventiveness.  Whether founding the Diabolic Path rather than 'just' inventing some tools and talismans within and also outside of it, or figuring out/explaining how some sort of magic works, whether lecturing to the juniors or working it out for himself, or something like that one night-hunting extra where he's being a supernatural consulting detective... it's fun to see more of his ~mind at work,~ in a way that doesn't fit as well either into an audiovisual medium or under the constraints of 'what is happening? definitely not corpse magic!' that censorship imposes.

9. The structure of revealing what happened in (what I can't help thinking of as) the main portion of the plot - who Wei Wuxian is, what his life story is, and Lan Wangji's part in it - through interleaved and not even necessarily in-order flashbacks is... so interesting?  Unfortunately I can't tell how well it would've worked for me in terms of changing my understandings of characters etc., because I watched the show before I read the book, so I came to it knowing the outlines of the story.  But it's a cool idea, and I wish that I could experience it properly!  (Though I would never have read the book without watching the show first, I would've failed out at the start due to translation issues and then if I'd persisted past that due to all the gay chicken stuff.)

[sleepless-in-starbucks]

I got inspired from reading you gush about Remy ships while being in a cool cafe(?). So consider: Remy and Logan run a cool little place that technically is *called* a coffee shop, but also sells smoothies, teas, desserts, meals, books, jars, mugs, and an assortment of random objects. All the other sides/shorts characters are regulars, and the couple Virgil and Emile keep flirting with the couple Logan and Remy, and eventually they become a poly relationship. -squirrel anon

YES

GOOD

GOD-TIER

oh gosh I didn’t realize I needed analoremile (?) in my life until now but I DO I need them VERY MUCH

Especially in this context because!!! at first Virgil and Emile are just Another Couple who comes to the store y’know and Logan and Remy like them but it’s whatever overall

Until one day when everything changes for seemingly no reason (there is a reason, Logan and Remy just don’t know it- it’s called Virgil and Emile met Logan and Remy, became immediately gayer than they already were, told each other this, and decided that the only thing to do was to court the couple together until they were ALL together because Gays For The Win) and suddenly Emile and Virgil are not only coming more often but being oddly... close with Logan and Remy

Remy’s fine with it, of course- he’s a naturally flirty person by nature, being with Logan hasn’t changed that- and he doesn’t mind at all playing along, exchanging sweet compliments with Emile while he makes him his tea and trading more traditionally flirtatious remarks with Virgil while he helps him pick out books. It’s fun for him, what can he say? Plus, he knows it doesn’t really mean anything- he loves Logan, they know that, he knows that, and he is not a cheater! So it’s okay.

Logan’s also fine with it. He’s not as flirty, per say, but he doesn’t mind long interesting chats with Emile that have a few compliments and softly lingering gazes thrown in by the other, and he doesn’t mind letting Virgil convince him to rant about something or another while the other watches him with an eye that’s paying a bit more attention to Logan than it should and calling Logan beautiful a few more times than a taken man should. After all, Logan knows how Remy acts, and like Remy, he’s not planning on being unfaithful anytime soon (or ever), so it’s alright to enjoy the slightly off interactions. It’s okay.

It takes Logan and Remy about one month or so to figure out it’s not okay.

Because somewhere down the line of just liking Virgil and Emile and finding them cute and fun and sweet and a very good couple (tho they seem horribly clashing, Emile doesn’t seem to mind Virgil’s darker tendencies, and Virgil seems content with and grounded by Emile’s softer ones) they fell in love with them.

Remy ends up admitting this to Logan one week after he realized it, not wanting to hurt their relationship with the secret, only to learn Logan had been sitting on the same realization for two weeks (Logan had been hoping it would go away if he ignored it- considering Virgil and Emile seemed intent on not letting him ignore it, however, this plan hadn’t been working)

Collectively, they die a little (a lot) over gay, and then decide to keep the secret from Virgil and Emile, because that’s weird to tell two happy dating guys that you, as a couple, are in love with both of them.

This plan works for two days, because Virgil and Emile are not blind, and they realize pretty quickly that Logan and Remy are acting weird around them.

Cut to Virgil and Emile somehow managing to corner them in their own shop, Remy and Logan awkwardly admitting to their ~secret~, and Virgil + Emile more or less being ‘fucking FINALLY’

and then they get together :)

[the-desolated-quill]

Good Omens, Queerbaiting And Death Of The Author - Quill’s Scribbles

I confess this is the most reluctant I’ve ever been to write a Scribble. When this topic came up, I remember just groaning and putting my head in my hands because I knew that, due to the nature of what I tend to write about on this blog and the fact that I’m an out and out biromantic demisexual queerbo, people would be asking me to contribute to the discourse. And honestly I don’t particularly want to. I don’t get to enjoy many films and TV shows anymore thanks to the industry doing their very best to ruin everything they touch. Can’t I just watch one good TV show without being dragged into some ideological battle?

Okay. Guess I can’t really put this off any longer.

On the 31st May, the long awaited adaptation of Good Omens was released on Amazon Video. I thought it was quite good. Not perfect. There are some things I could criticise, but overall it was a worthy adaptation of the source material and it was very enjoyable to watch. And that seems to be the general consensus with both critics and fans. However over the past couple of months since its release, a ‘controversy’ began to emerge within the fandom regarding the show’s main characters Aziraphale and Crowley. See, a large proportion of both the media and the Good Omens fanbase have interpreted the angel/demon double act as being gay, but this has sparked a backlash from some fans with them going so far as to accuse the show of queerbaiting as the show never explicitly confirms the characters’ sexuality. This then led to a backlash to the backlash, sparking a whole debate as to what constitutes good LGBT representation. Not only that, Neil Gaiman, the showrunner and original co-author of Good Omens, has stubbornly refused to confirm one way or the other whether or not Aziraphale and Crowley are more than just good friends, which has added further fuel to the fire.

Now before we go any further, I just want to disavow one argument that I see cropping up a lot and that really gets under my skin. That Aziraphale and Crowley can’t possibly be gay because they’re not men. They’re genderless beings that feel no sexual attraction. The implication being that the characters are asexual, but the way you hear people going on about it, the Ineffable Husbands seem less asexual and more like soulless robots. First off, you do know asexual people feel love too, right? We’re not Vulcans. Second, can we stop this ridiculous logic that they can’t be gay because they’re not men? It reminds me of the ‘controversy’ that surrounded Mass Effect 3 when BioWare confirmed that you could play as a gay male Commander Shepard. When people pointed out to the critics and haters that you could already play as a gay Shepard if you picked FemShep and pursued Liara, they retorted by saying that Liara doesn’t count as a woman because she’s a ‘monogendered alien.’ And my response to that was... so? She still looks like a woman and she still uses female pronouns. If FemShep is attracted to her, there’s a good chance she might be gay. It really is that simple. Aziraphale and Crowley may be genderless, but they look like men and use male pronouns. So if they were attracted to each other, they just might be gay. Period.

Anyway. Tangent over. Lets talk about Aziraphale and Crowley. You might be wondering where I stand on this whole issue. Do I believe that Aziraphale and Crowley are gay? Well honestly it depends on which version we’re talking about here. If we’re talking about the book version, I would say probably not. Don’t get me wrong. I’m almost certain book Aziraphale is gay as there are a number of references that seem to suggest that. His bookshop is in Soho, which is famous for its thriving LGBT community, the narrator mentions him going to a ‘discreet gentlemen’s club’ in the 1800s, and there’s of course this brilliant line:

“Many people, meeting Aziraphale for the first time, formed three impressions: that he was English, that he was intelligent, and that he was gayer than a tree full of monkeys on nitrous oxide.”

So yeah. There was never a doubt in my mind that book Aziraphale was gay. (And before anyone comments saying that the next line mentions that Aziraphale isn’t gay because angels are sexless unless they make the effort, let me ask you something. Who, out of all the characters in the book, does he make a genuine effort for? Aha!). Book Crowley on the other hand isn’t quite so clear cut. Sure there are occasional flashes of something, but it could easily just be interpreted as being gestures of friendship rather than romance. Personally I always saw book Crowley as being more aromantic/asexual. In fact their relationship reminded me a lot of my relationship with my best friend. I’m more like Aziraphale, due to being very camp, somewhat old fashioned and often quite emotional, whereas my friend is like Crowley in that she displays a facade of confidence to mask her insecurities and is extremely loyal to her friends. Now please note I’m not trying to destroy anyone’s personal headcanon here. I know for a fact many LGBT people have interpreted and drawn inspiration from Aziraphale and Crowley’s relationship for nearly 30 years since the book first came out in 1990, and I wouldn’t dream of depriving anyone of that. I’m just merely describing how I personally interpreted the characters when I read it.

So, while book Aziraphale is almost definitely gay in my opinion, I personally don’t think they were anything more than just good friends. Do I think the same about the TV version? Actually no. In fact completely the opposite. I think TV Aziraphale and Crowley are 100%, unquestionably and unashamedly in love with each other and this view is supported by the extra material Neil Gaiman has written for them, most notably the 30 minute long cold open of the third episode that shows Aziraphale and Crowley’s blossoming relationship over the course of human history, as well as how the show frames them. We hear the kind of swelling, orchestral music you would hear in a romance when Crowley saves Aziraphale’s books from a WW2 bomb, the scenes where the two argue about running away to Alpha Centauri are presented as being like a legitimate breakup (with the addition of some random passerby telling Aziraphale he’s ‘better off without him’), the other angels occasionally refer to Crowley as being Aziraphale’s boyfriend (albeit in a mocking way), and the way Michael Sheen and David Tennant play the characters makes them feel much more like an old married couple rather than being simply friends. There’s even a wonderful moment in the third episode where Crowley asks Aziraphale if he could give him a ride somewhere, to which Aziraphale responds “you go too fast for me Crowley.” It leaves very little room for doubt in my opinion, and yet Neil Gaiman refuses to verbally confirm this, even though the actors and the director have expressed numerous times that they interpreted the characters as such. Not only that, but the writing and filmmaking leaves just enough room for plausible deniability, never explicitly confirming the relationship. So the question remains, does this count as legitimate LGBT representation or is this just a very advanced form of queerbaiting?

Well first it would be useful to talk about what queerbaiting actually is, because a lot of people arguing against Good Omens don’t seem to fully understand the term. Queerbaiting is when a creator hints at a possible same sex romance without ever actually confirming or depicting the relationship. A recent example of this would be Albus Dumbledore in the Harry Potter series. 

JK Rowling first ‘outed’ Dumbledore as gay back in 2007, saying he was in a relationship with the dark wizard Grindelwald, but unless you read the interview, you would never have known this because the book doesn’t provide any sort of hint or clue or reference to that relationship. Worse still, when given the opportunity to rectify this in Fantastic Beasts: The Crimes Of Grindelwald, Rowling chose instead to downplay the relationship between Dumbledore and Grindelwald significantly. This is queerbaiting. Implying a character might be gay or promising to introduce a gay character only to then backtrack or not fully commit. Another example would be Avengers: Endgame where the Russo Brothers announced there was going to be a gay character in the film only for it to be some nameless guy who’s only on screen for about a minute. It revolves around luring people in with the expectation of LGBT representation only to then snatch it away once they’ve got bums in seats.

(Also, just to clarify, queerbaiting is not when a bisexual or pansexual character becomes romantically involved with someone of the opposite sex. Yes it’s important that we see more bisexual and pansexual characters and yes it’s important we see more same sex couples on screen, but do NOT conflate the two. Deadpool’s pansexuality, for instance, isn’t suddenly invalid just because he has a girlfriend).

So, with this in mind, does Good Omens fit the criteria of queerbaiting. Well the sexuality of the characters are often the focal point of many interviews, with the director and actors explicitly describing Aziraphale and Crowley’s relationship as ‘a love story.’ Most notably Michael Sheen, who plays Aziraphale and who has been carrying a torch for the Ineffable Husbands since Good Omens came out. But unlike JK Rowling and the Russos, the makers of Good Omens can back up their words with content. As mentioned above, the way the show frames the relationship makes the implication quite clear. There’s even a bit where Crowley thinks Aziraphale has been killed and he leaves the burning bookshop while ‘Somebody To Love’ is playing in the background. It isn’t really very subtle. So, by my understanding, queerbaiting doesn’t seem particularly accurate when talking about Good Omens. The issue here is one of presentation. The overt subtext is all well and good, but does the fact that there’s no explicit confirmation of their relationship make it invalid? To answer that question, we must look into another relevant term. Queercoding.

Queercoding is when a character is given the traits typically associated with those commonly attributed to gay people, such as effeminate behaviour or ostentatious dress sense. This is used often as a way of getting queer relationships past the censor. Implying a character might be gay without explicitly confirming it for fear of the studio or publisher putting their foot down.

While queercoding is often intrinsically linked to queerbaiting, it’s worth noting that while queerbaiting is always seen as a negative (and rightly so), queercoding is neither positive nor negative. It’s merely a contextual device and can be positive or negative depending on execution. A positive example of queercoding would be Deadpool.

While the Merc with the Mouth has never been officially outed as pansexual, both the comics and the movies in particular have framed him as someone who doesn’t conform to heteronormative expectations. The marketing of both movies present Deadpool in traditionally feminine poses as a way of mocking and commenting on how gender is perceived in these kinds of tentpole blockbusters. The comics often make fairly explicit references towards Deadpool’s sexual flexibility for the purposes of humour, such as in his interactions with characters like Spider-Man or Thor.

The movies follow suit. The first movie is littered with moments where Deadpool alludes to being not entirely straight. He occasionally uses gay slang, we see his girlfriend Vanessa penetrate him with a strap-on during the sex montage, and there are frequent references to how sexy Hugh Jackman is, most notably near the beginning when Deadpool describes how he had to give Wolverine a handjob in order to get his own movie. The second movie meanwhile takes it a step further. Not only is the entirety of Deadpool 2 essentially one big allegory for how members of the LGBT community cope with abuse and discrimination, we also see Deadpool express a sexual interest in Colossus many times, the extended cut even going so far as to depict Deadpool trying to give him a blowjob.

Now as I said, Deadpool has never been officially outed as pansexual. That information comes from one of the comic book writers on Twitter. The comics and movies have never verbally confirmed it. We never hear Deadpool describe himself as such. But to say he’s not queer would be absurd because he clearly is. That’s how he’s framed and presented to us across the majority of media. What makes Deadpool a positive example of queercoding is how we view the character. He’s clearly extremely comfortable with expressing his own sexuality and feels no shame in his antics. While the majority of his queer moments are used for the purposes of humour, we’re always laughing with him, not at him.

Now lets take a look at a negative example of queercoding:

This is Moriarty from the BBC series Sherlock written by Steven Moffat and Mark Gatiss. Sherlock is without a doubt one of the worst adaptations of the canon that’s ever been made and the show’s treatment of Moriarty is a big reason for that. When he’s first introduced in The Great Game, when he’s posing as Molly’s boyfriend, Sherlock deduces that he’s gay based on really no evidence at all other than that he puts product in his hair and his underpants are showing. It’s ostensibly playing on that stereotype that any man who takes pride in their appearance isn’t masculine and therefore must be gay. (if that were true then David Beckham would be the gayest man on the fucking planet). While it becomes clear at the end of the episode that this was just an act Moriarty was putting on to fool Sherlock, he never really loses the metrosexual image. He boasts about his ‘Westwood’ clothes, we see him prance and preen like some over the top camp supervillain (more on that later) and he makes numerous double entendres that imply he’s interested in men, specifically Sherlock. There’s even a moment in The Reichenbach Fall where we see Moriarty sitting on a throne wearing the crown jewels. Ha! Do you get it? Because he’s a queen!

What makes this form of queercoding more offensive than Deadpool is, again, how we as the audience are supposed to perceive him. Moffat and Gatiss want us to laugh at Moriarty’s camp behaviour and they clearly find the prospect of shipping Moriarty and Sherlock utterly absurd, as demonstrated in the episode The Empty Hearse where we see the Sherlock fan club suggest Sherlock survived the fall because he and Moriarty were secretly lovers. This bit was there for no reason other than to take the piss out of Sherlock fans who read too much into the show’s intentional subtext. Also, crucially, Moriarty has no real character or backstory other than as a gay stereotype. He’s a lazily written caricature who serves no real purpose other than as a homophobic punchline. There’s a lot more to Deadpool than just being queer. With Moriarty however, there’s simply nothing underneath.

Moriarty is also an example of how queercoding is most commonly applied to villains. There are countless examples of this across various media over the years. The Joker from Batman, for instance. Ursula from The Little Mermaid. Scar from The Lion King. In these cases, whether intentionally or not, queercoding plants ideas of gender identity into the viewers’ heads. A male supervillain like the Joker is presented as being eccentric, arch and incredibly camp while Batman, the hero, is big and strong and serious and honourable. A manly man. Likewise, Ursula is presented as butch and unfeminine, scheming and malevolent, whereas Ariel is attractive and sweet and innocent. The ideal woman. Queercoded villains have been used to demonise the LGBT community for decades by presenting an ideal, hetronormative image of what a man or woman should be like, battling an antagonist that doesn’t fit in with traditional gender roles. Obviously there’s nothing inherently wrong with having a camp male villain or a distinctly unfeminine female villain, but it’s worth bearing in mind where these ideas originally came from and the impact it could potentially have.

So lets bring this back to Good Omens. The queercoding of Aziraphale and Crowley is obvious and it’s never presented in negative terms. (there’s a moment where Shadwell refers to Aziraphale as a pansy, but considering the man is a complete moron who draws eyes on milk bottles and thinks nipples are the gold standard way of identifying a witch, I think we can safely say he’s not to be taken seriously). In fact their relationship is incredibly sweet and endearing. Except... I can understand why Terry Pratchett and Neil Gaiman weren’t explicit in expressing the characters’ sexuality when the book was first published. It was 1990, both Pratchett and Gaiman were still relatively fresh faces and Western society’s attitudes toward homosexuality weren’t quite as progressive then as they are now. But it’s now 2019. Things have changed. Gay characters are appearing more frequently in books, movies and TV shows, people in general are more accepting of the LGBT community and Gaiman is now a hugely successful author with a lot of influence in the industry. Why not just make the relationship explicit?

Well there are two ways of looking at this. The first is that it really doesn’t need to be explicit. You would never hear a man and a woman talk about how incredibly hetero they are, would you? Actions speak louder than words after all. But when the two characters in question are of the same gender, suddenly the whole thing becomes a massive debate to the point where unless someone comes right out and says they are gay, people simply won’t buy it. Deadpool, tragically, has suffered from this with obnoxious frat boys deliberately glossing over the obvious queer subtext and hijacking the character for their own self-aggrandisement. This really shouldn’t be the case and this whole ‘straight until proven gay’ mindset isn’t the fault of the show. It’s entirely the fault of the viewer. The second involves our last topic of discussion. The Death of the Author. (no pun intended. RIP Pratchett).

Death of the Author refers to a literary essay written by the theorist Roland Barthes in 1967, which argues against critiquing a piece of literature based on authorial intent. Basically, once a book or movie or TV show is released to the general public, any relation to its creator becomes immaterial. The work in question must stand on its own and be judged independently. The intention of the author no longer matters. (I’m simplifying obviously, but that’s basically the gist of it. If you ever get the chance, read the essay yourself. It’s a fascinating read). Gaiman appears to be a firm believer in this philosophy. On his Tumblr account, @neil-gaiman, when asked about the the relationship between Aziraphale and Crowley, he often refuses to comment, invoking the Death of the Author mindset. It’s up the reader/viewer to interpret the characters. If you think they’re gay, then they’re gay. If you think they’re just friends, then they’re just friends. Some could call this a bit of a cop out, and you’re entitled to do so, but I understand where Gaiman is coming from. We’ve seen writers like JK Rowling get into trouble for queerbaiting, saying that she always intended for Dumbledore to be gay, but never actually showing any real evidence for it in the text, and Gaiman doesn’t want to fall into the same trap. Plus it demonstrates that Gaiman respects the views and interpretations of his fans, unlike Rowling who responded to criticism of her queerbaiting on Twitter with GIFs of people sticking their fingers in their ears and ‘blocking out the haters.’

In some ways I do feel very sorry for Gaiman. On the one hand he wants to stay true to his and Pratchett’s original vision, but on the other hand he doesn’t want to disappoint the hundreds of fans who do view the characters as being gay. Good Omens has been cited as an extremely positive influence on many queer readers, some even going so far as to say that it was this very book that allowed them to finally accept their identities and come out of the closet. Heartwarming stories like this can be found all over the web and hopefully many more will emerge now that the TV adaptation has been released. If Gaiman were to suddenly turn around in an interview one day and say ‘oh. No. Sorry. Aziraphale and Crowley were always intended to be just friends. You’re all wrong’, it would destroy people who invested so much in this relationship. Likewise, if he explicitly confirmed in an interview that the two characters are definitely gay, people would either accuse him of queerbaiting if the show doesn’t fully live up to their expectations or accuse him of shoving his political opinions down their throats. He can’t win either way really. That being said, I can’t help but respect Gaiman for sticking to his guns. It demonstrates that he’s confident in his skills as a writer and his ability to make his intentions clear in the text, that he respects the ideas and opinions of his readers and fans, and that he also respects the ideas and opinions of the cast and crew of the Good Omens TV show. While Gaiman has refused to confirm one way or the other, others like Michael Sheen or  director Douglas Mackinnon have made their views very clear. Aziraphale and Crowley are in love. That’s their interpretation and they have every right to it.

So do I believe Good Omens is queerbaiting? In my opinion, no. Does that mean I believe it’s faultless? Again, no. If the intention is to depict Aziraphale and Crowley as being lovers, then I think they could have done a bit more. Obviously I’m not suggesting a full blown sex scene or anything like that. Even something as simple as them holding hands or hugging each other would have done. Some physical intimacy of some kind. Because as it stands, Good Omens does share problems with a lot of other TV shows in how they present same sex couples, in that they’re consciously aware that they are presenting to a heterosexual viewer. This is why a relationship between two women is often sexualised and eroticised for the titillation of straight men whereas the relationship between two men can often be quite chaste. Very rarely do you see two men making out or doing anything beyond a quick peck. Good Omens sadly fits into that camp, though just to be clear, I’m not blaming Neil Gaiman or the show for this. I’m merely saying that this is part of a wider systemic issue that needs to be talked about and addressed as the industry moves forward. (Hell, that might as well be be the title of my entire Tumblr profile). Also, whether you believe the relationship between Aziraphale and Crowley is platonic or romantic, it does not change the impact this story has had on many LGBT readers nor the fact that the story is about love. It’s important to bear this in mind because while, yes, it is important to have this discussion, we can’t lose sight of the positive message it conveys with regards to building bridges and closing divides between opposing groups.

“And perhaps the recent exertions had had some fallout in the nature of reality because, while they were eating, for the first time ever, a nightingale sang in Berkeley Square. No one heard it over the noise of the traffic, but it was there, right enough.”

[faunusrights]

‘AFTER THE FALL’ - LIVEREAD III

The more I hear about the latter half of this book, the more depresso espresso I’m drinking. Let’s see how it goes, huh?

(Since there’s more chapters in the latter half than the first half, short chapters will probably get combined together for the sake of. I’m lazy.)

CHAPTERS EIGHT AND NINE

I love that Velvet’s the one who enlisted Weiss and Yang, expecting shit to go sideways. She saw these two gays on main and went ‘they look like they can party’. Was she wrong? No. Did she invite Cinder for the express purpose of drama? Yes. Can you make me stop shipping Sinnamon Bun? Also no.

Okay, this book has read my mine though!!! Ruby pitches a Beacon Battle Club where they play music as they fight, and no word of a fucking lie, that happens in Great Weiss Shark AU! I am not kidding! I had this whole story planned out! This is theft of the HIGHEST order.

“Doilies are absurd and elitist,” Yang said.

This is simultaneously the least Yang-like line and also the most Yang-like line I’ve ever heard. The duality of idiot, I suppose.

I like Fox! I really do, actually! He’s my son now. Although, the bad news is I dunno if I can replicate him in The Frapp Logs, so he’ll just have to keep dragging Coco to the ends of the earth. Same thing, right? R-right?

“Leaders can’t be the comic relief.” Fox raised his eyebrows. “Jaune.”

Is this the second time Jaune’s been dragged? I’m living for it. Also, sleepy Blake! And CFVY knowing she’s (they’re) a Faunus! And the second book behind a book! I love you, Blake.

Velvet correcting Yatsu’s ‘catnap’ joke! I wrote a ficlet about this exact thing once, so I TOLD you my Velvet’s NEARLY CANON. SHE JUST NEEDS TO EAT MORE PROTEIN IS ALL.

Onto chapter nine. God, these chapters get thinner by the second, huh?

BACK TO THE DESERT WE GO, and there’s... fog? Which is now gone! Wow! Is this a plot device? Foreshadowing? I sure hope so, because why on earth it would warrant a mention we’re just not too sure!

A sandstorm is incoming and hidden tracks are gonna get blasted away. I’m trying to figure out if this is all pathetic fallacy or if I’m reading too much into handy-dandy plot devices. Why not both?

Heart-to-heart with Coco and Yatsu... and we’re back to Yatsu giving Velvet all the hugs. Now that I’m sensing the Velv/Yats vibes, I’m extra suspicious. You stop that. Let Velvet have a fashionable GF at least if you won’t let her kiss Weiss!!!

‘[...] even the women were down to halter tops. Focus, Coco, she thought.’

Ah, lesbian as always. I’m soothed. Carmine enters the tent and Coco gets even gayer. I’m very soothed.

‘What was Jaune doing after losing a member of his team, a friend... someone he clearly cared about.’

I don’t care about what Jaune feels. Why the heck would Coco even care? There’s literally so many more people that impacts than just Jaune, lawd.

CHAPTER TEN AND ELEVEN

Back to Fox, who is honestly the shining star of this book by now. I love you, my blind and sassy son.

I love Ada and the battle mechanic she has! I’m really enjoying how Fox interacts with the world around him and using his Scroll and AI as an accessibility device. It’s neat! I didn’t expect them to go as ham on him as they did, but they did.

“Update,” Ada said. “Weapon has projectile capabilities.” “You mean it’s also a gun.”

Obligatory gun meme.

Combat stuff happens, Fox wins a fight against a confused Edward, and it turns out Gus is the one summoning Grimm and Fox just got jumped, so we slide into another flashback for chapter eleven. Lemme tell ya, this book ain’t afraid of moving fast.

“I guess you slightly oversold your ability to track the survivors,” Coco said.

Again, this is one of those lines that reads as very... callous? Kinda mean? I’ve always had Coco in my head as someone who very broadly puts her team (and their feelings) first, even if it’s rough, so lines like this make me go 🤔

Velvet falls, Yatsu panics, Coco gets up in everyone’s grill. There’s a lot to this dynamic I am not enjoying right now, and even then this seems inconsistent with the CFVY we’ve seen in the book itself. I know the author’s trying to communicate that Coco is tired and frustrated, that I get, but I’m pretty sure this isn’t how... it would really happen given her character? I dunno. ‘S weird.

Was that a fat joke I spotted there? From Coco? I need a nap. Also COCO LET VELVET DO THINGS JESUS CHRIST!!!!!!!!!!!!!!!!!! FUCK ME SIDEWAYS!!!!!!!!!!

Coco has claustrophobia! I wrote her as having agoraphobia, so this is a hilarious turn of events. Also Coco has two brothers, not one: Mate and Toma.

Coco is fighting Grimm in a cave with CFVY, but still finds time to criticise Velvet in combat. Hey, maybe if you let her do things, she’d prove you wrong, dingus. And then she does! See!

Aaaaaaaand the six survivors are all dead. This was a pretty traumatic event, all told, which makes it weird that they look... less affected in the show? Still, this chapter was VERY weird for the characterisations because Coco seems especially inconsistent, alas. Anyway, onto:

CHAPTERS TWELVE AND THIRTEEN

The sandstorm is approaching and catching the wagons, which I have just realised are actually vehicles that use fuel. Mostly because that’s the First I Heard Of It.

‘Velvet noticed a pistol tucked in the back before she closed the door.’

Hi, can Chekhov please pick up his gun from aisle twelve? Thanks.

GIANT SAND TURTLE. AVATAR AANG C’MERE Y’ALL GOTTA LEARN HOW TO DEFEAT THE FIRELORD.

“You said it’s big enough to ride on?” Velvet asked.

Maybe this is why Coco dismisses Velvet so often. She only pitches the craziest ideas, which is why I love her. That said, Coco finally lets Velvet do something! It’s a miracle of man! Climb that turtle, bihh!

Yatsu calls Velvet V. I’m so used to Velv that V sounds entirely too cool for this idiot.

Everyone’s pissed again, but-- IS THAT THE SAND WORM THING FROM ARRAKIS?! What A Tweest!!!!!!!!!!!!! Nobody coulda seen THAT coming!!!!!

So let’s go to chapter thirteen, where Fox has had the shit beaten out of him behind a Denny’s. Sound about right.

So what’s-his-name-- Bertilak, whomst from now on shall be called Bert because what sorta water tribe name even is that (wow the ATLA references are on fire today). Anyway, Bert is being paid by someone else to deliver people with Stronk Semblances like summoning Grimm! Gee I Wonder Who That Might Be (I don’t actually know but I’m honestly not going to be surprised either way).

“Yeah, [Bert]’s a real bastard.” “Even I can see that,” Fox sent.

I love it. Fox really has been the highlight of this book for me.

Fox is on the ground and the referee is counting him to ten, so it’s mid-chapter-flashback time! We learn how Fox’s parents died (sinkhole) and how that became his motivation for... going to Beacon? Okay, tenuous link at best, but I’m going with it.

Carmine is full of trouble and Fox is determined to take Bert with ‘em. Let him DIE.

I’m gonna keep going since we’re not four chapters from the end, so:

CHAPTERS FOURTEEN AND FIFTEEN

Flashback time! Again! Only it’s CFVY’s POV of their return to Beacon. I wouldn’t mind this if like. We hadn’t already seen this from RWBY’s perspective in the show? People know this from my tastes in fanfic, but I’m not a huge fan of retellings of canon events, it’s soooooo boooooring. So I’m just gonna grind through this asap.

(I do like that RWBY and CFVY have all these parallels being called to. As they should.)

Okay we’re past the recap and OH LAWD I HEARD OF THIS BIT. Goodwitch is here (I love u Glynda no matter what) but yeah, I’ve heard this part is Big Oof so uh, let’s see this happen go down. Velvet is being requested to see Ozpin so /buckles down.

Velvet’s being questioned alone for the Whole Thing, and team CFVY have burst into the office demanding to know why, and Velvet’s a crying wreck! I’m still very >:I for everyone being overprotective of Velvet, c’mon, but also: Oz, can you please have tact? Just once in your life? Tact? Do you has it?

Anyway, CFVY have reconciled and we turn to chapter fifteen, in which: Yatsu.

Carmine has Gus, everyone’s on the Turtmobile, and shit’s hitting the fan. Yatsu’s going after Gus and Carmine alone, and I’m still waiting on Chekov’s Gun to Chekov its way right into someone’s butt. Unless it’s Chekov’s Red Herring.

Here comes a fight scene! I never have much to say during fight scenes, so, uh, yeah. There’s some real last-minute exposition in places, though, where it really shouldn’t be.

Eey, Carmine is telekinetic! Very powerful and also OP, gotta nerf that shit right down, Edward.

Yatsu’s very nearly defeated, Bert is back, baby, and shit’s getting real. Time for chaaaaaaaaaper sixteeeeeeeeeen.

CHAPTERS SIXTEEN AND SEVENTEEN

Today’s livereading soundtrack is Simple Things by Zero 7. The whole album, I mean. This is a fun little fact to make sure you’re still awake and aware, ‘cause I sure ain’t!

Roy Stallion of BRNZ is presumed dead, along with the whole team, so big RIP to May, who was cute and deserved better. Swear to God if ABRN are dead too I will kill a man. Two men, to be specific.

Velvet admits she never wanted to come to Vacuo, Coco promises they’ll return to reclaim Beacon in future. This reads like a protagonist’s last speech on hope and strength in friendship... and it should, as Coco gets swallowed by a worm! Straight up just down the hatch! This should be a tragic beat, but this is honestly so funny. Coco, pick better ways to die.

Anyway, we’re onto chapter seventeen. I was very kindly given this message:

And I-- OH HELL YES! HELL YES IT’S A SCHOOL DAY TIMETABLE!!!!!!!!!! THE LORE! THE CLASSES! THE NAMES! THE FACTS! THIS IS THE BEST THING IN THE ENTIRE BOOK SO FAR WHICH REALLY GOES TO SHOW I HAVE NO HOBBIES!

Is this a... flashback? Flash... forward? I’m not sure, actually. Either way, CFVY are in Beacon clearing the place of Grimm. Actually, this must be a flashback to before they went to Vacuo, I suppose, which would make sense to follow Velvet’s little admittance last chapter before Coco got swallowed like a paracetamol tablet.

Velvet waited for someone to ask her what she thought, what she wanted, by no one did.

Now I’m SAD why won’t people be NICE to VELVET just ONCE!!! God, this book really just gives her the short end of the stick every time.

Off go CFVY to Vacuo. Bye.

CHAPTER EIGHTEEN AND EPILOGUE

Heremst we go.

Coco’s alive! I mean, no surprise. And full of the Joques as ever:

Coco figured sacrificing your life for a teammate was one way to be remembered as a good leader, but maybe that was just cheating.

RIP Coco and her claustrophobia! Hey, now that was good foreshadowing! That gets a whole Murphy Cookie of Approval. 🍪

Coco loses her Scroll and her hat, but Velvet swoops in to save the day! Meanwhile, Bert has been convinced that Carmine double-crossed him, so they’re battling it out! Basically, Gus cast frenzy. Finally, it works in everyone’s favour.

“I can’t believe I thought you were cute,” Coco spat.

Some lines in this book haven’t been very good. This one, on the other hand, very much is.

So Carmine goes underground and starts creating sinkholes everywhere like a weird desert gremlin, and Edward manages to block her Semblance and like. Carmine flat-out nearly suffocates herself to death. Another death I would have found both gruesome and hilarious for its irony. But Velvet uses Flynt’s trumpet to quite literally doot the sand away, and-- I’m so sorry, this line has me literally laughing to myself. She fuckin’-- doots the sand. Oh my god.

Anyway they win, catch up with Slate and the Nomad Fam, and meet team SSSN! The boys are back in town!!!!!!!!!!!!!!!!!!! Things are looking good.

Epilogue time. I’m still laughing about the sand-dooting.

So, we don’t know who paid Bert and Carmine, I guess? I do believe there’s maybe a sequel or something in the works, apparently, so maybe this is part of an overarching plot type thingie. Still.

Ah, yep, Coco confirms that they’re not through with this line of investigation yet, But, Velvet wraps it up with a heart-felt, if not a little bit cheesy, segment about home being wherever CFVY is, and so the book comes to a close.

WRAP-UP

So, I’m definitely gonna have a second read-through of this without having to constantly stop and do a liveblog, but the book was... okay, I guess? I feel like this plotline wasn’t the greatest one for CFVY, and that the author doesn’t have a crazy good handle on the characters -- he’s likely more suited to original content, which is valid. It’s a good romp and we do get new lore, but as expected, I feel like CFVY would be best used in the show that conceived them in the first place. A book is nice, but I’d love to see their return in RWBY itself, especially since this book wasn’t really... long enough, I don’t think? Seriously, y’all’ve met me. I do write hundreds of thousands of words in this world and I still haven’t written everything I wanna yet! I’d also like to see more Velvet as seen in RWBY Chibi, in which was she Cool and Good, and maybe less Yatsu alongside her directly. But! It’s a book! It’s decent! It’s CFVY! For most people, it’s Good Enough. And they’re valid too.

[vaguely-concerned]

SO I DID GET TO SEE GOOD OMENS AND TL;DR IT WAS EXCELLENT, I AM EUPHORIC

more thoughts and spoilers under the cut!

the FUCK YEEEEEEEAAAAAHs:

- mr gaiman you did it you made it even gayer I never even believed it was possible what is this 6000 years pining slowburn nonsense 

*ahem* to be more serious about it I loved that the show takes the emotional throughlines from the book and somehow both heightens and deepens them. 

- it really is phenomenally faithful to the book and the stuff it adds is mostly a m a z i n g. it kept me perfectly engaged despite me knowing what like 75% of the dialogue was going to be

- david tennant doesn’t quite go for the same energy as how I imagine crowley in the book -- in my head he’s more... idk how to explain it but the vibe is more someone grinning a bright fixed ‘this is totally my suave face’ grin while clearly continually going ‘oh fuck oh fuck oh fuck’ internally haha, to me he’s slightly less... mercurial? trying to play his cards closer to the chest? but you know what show!crowley is fucking hilarious too and I do like what they’ve done with him being less of an optimist at the core and more enjoying the world through his connection with aziraphale -- the sense of underlying loneliness you get in some places in the book has really been dialed up, he just wants a friend :( (which incidentally seems to be part of the reason he fe -- sauntered vaguely downwards too; he mostly wanted to hang out with someone, and today he still doesn’t really fit in with either the angels or the demons) 

- I can’t believe they managed to capture the feeling of ‘Under the ash and soot that flaked his face, he looked very tired, and very pale, and very scared’ on screen; it’s one of the moments of the book that really stuck with me and it worked so well here too, especially since the fallout of the situation stays with him longer

- this version of aziraphale is just. so lovely. so so good, literal precious angel who almost got his head cut off for crepes, I totally see why crowley persevered through the ages and his own intimacy issues, good call my friend. thank you michael sheen, every time this character showed up on screen I was filled with joy and delight

- I’m completely undone by how incredibly mutual their friendship is in this -- despite crowley being the more active in asking for connection it’s obvious all the way through how much aziraphale genuinely adores him and enjoys his company (even though he knows he shouldn’t and so continually needs to give himself some plausible deniability)

when aziraphale’s voice breaks as he’s like ‘don’t go’ after they’ve argued in the park and he’s just tried to pretend they’re not even friends? hahahahahahaha ouch my fucking heart

- sister mary loquacious was the most endearing thing I’ve ever seen in my entire life, give that actress all the roles she’s got the charisma of the gods

- “not only a southern pansy, sergeant -- the southern pansy” got through and it was glorious (ditto shadwell’s naming schemes, I for sure thought that wouldn’t be mentioned but it’s so incredibly funny)

- crowley repeatedly and openly just... begging aziraphale to go off to the stars with him what the fick-freckedy-fuck

- Of the horsemen Pollution was my absolute fave (so cool and unsettling and nonbinary rep!!!!!!! also they feel like the youngest horseman in such a deep way, every credit to the actress that was great) and I really enjoyed the twist on Famine, making him seem more intense and hungry himself as part of his nature as opposed to in the book where he’s basically like... diet vetinari lol

- G A B R I E L  he was so perfectly awful... absolutely no redeeming features whatsoever he’s just a piece of shit all the way through and John Hamm was clearly having the time of his life with it and I too was living 

- crowley crying in the bar because he lost his best friend and there’s no point to even try to run away anymore if he’s alone, he’s just waiting for the end of the world ;____________________________________________________; what an addition, such a thoughtful way to steer his character arc, wonderful, spectacular

in the book it’s more about him finding his way through the fear and desperation and having lost everything back to his core ‘actually... fuck this there’s no situation I can’t snake my way out of let’s goooooooooo’ self, which is admittedly really cool and satisfying, but it feels like a shallower thing than finally reaching a point where he can no longer pretend he doesn’t care or doesn’t want things. (also... the way his will to live reignites the moment aziraphale needs him fjskadlfhaskdhfksldhfslkahdf “I’ll come find you” INDEED fjksdafhsdlfhsdalfh) 

- also a nice tiny change: the implication that reason he can drive the bentley through the flames is that he loves that car so fucking much, he’s invested so much of himself and his emotions in it over many years, like a sort of microcosm of how he feels about the actual world (and specifically humanity’s presence in it) that produced it

- the child actors were uniformly precious, and the kid who played adam got me right in the feelings. the sort of comedic sociopathy of kids thing going on in the book is downplayed, which means I was feeling all the more protective of this sweet sweet kid who just loves his dog and his friends and fjsdfklasjkh

- *sigh* my embarrassing crush on david tennant has been lying dormant these last few years, simply waiting for its chance to rise from the depths like a kraken yet again, and I am slightly unsettled that what really made it surface this time was him dressed up as evil Mary Poppins + the bathing suit, socks included. ah well the heart uh wants what it wants I guess 

- crowley is awfully quick to suggest child murder for someone who’s blatantly not willing to harm a hair on a kid’s head himself lawl the two of them just juggling the ‘but maybe you could like... quickly murder him so we could avoid all this???’ ball back and forth before madame tracy finally knocks some sense into them 

- the actress for madame tracy did such an amazing job that I literally forgot aziraphale wasn’t actually possessing her, ART

- fellas... is it gay to blow up a bunch of nazis for your ~*best friend*~ and save his books while actualfax romantic music swells in the background... asking for a friend 

- “anywhere you want to go” :):):):) oh no

- to be Sad at you for a second here... why the fuck did aziraphale immediately assume crowley wanted the holy water to use it on himself? is there like. a story here we don’t know. is this the fallout of going to check wtf the spanish inquisition was all about. I’m almost afraid to ask

- to be even Sadder: that ‘For Terry’ made me cry and I’m not ashamed to admit it

the awwww... okay I guess you can’t have EVERYTHINGs:

- the scene where crowley and aziraphale get wasted together after the antichrist is delivered is not quite as funny as it is in my head, but then I don’t think anything in the physical world could be as funny as the way I imagine them just like somberly leaning over the table at each other with little regard for personal space and drunkenly expounding on dolphins, so I’ll forgive it

- CGI satan was completely unnecessary and not even very well designed *shrug emoji* the whole point of that scene is that we never get to see him, just the mounting dread as he’s getting closer, and then the wordless reveal of who Adam considers to be his dad and that’s all that matters and even the devil is powerless against it... loved the ~*godfathers*~ giving a little literal angel/devil on my shoulder pep talk, tho, that was incredibly sweet

- ...the maggots huh neil. couldn’t leave them out huh. what a world it would be if we didn’t get to see a bunch of people get eaten by a writhing roomful of maggots huh. 

- ETA: actually one more: I refuse to accept this version of DEATH, hashtag not my reaper

[sleepy-hailey]

Pacific Rim: Uprising

So as some of you might know, I like giant monsters and I like writing stuff (in theory), so how about I try combining the two things. In like a tangible way, not like the Kumonga (giant spider from Godzilla series) fanfic I have been working on for well over a year that still is not halfway done.

I am going to give my short and spoiler-free thoughts here and then go into more depth under the cut.

I really liked it. I laughed out loud at some of the gags, my mouth hung agape during some of the action, I whispered excitedly to my girlfriend next to me who had her own adorably goofy grin throughout, my feels got poked here and there, and I left the theater really happy. It was not perfect by any means nor was it as good as the first, but I will honestly probably watch again while it is still in theaters once it goes discount.

Now for my detailed thoughts where I spoilerize the whole movie.

Having said that I liked it, the first thing I want to talk about is, from what I’ve seen, the biggest point of contention. They fridged Mako Mori. For those who don’t know, “fridging” is a short hand for “Women in Refrigerators” which is when a character, usually a woman, is killed or otherwise brought to dramatic harm for the narrative benefit of another character, generally used for making a guy sad and angry. What separates this from general tragedy in fiction is that usually the character whom the harm befalls was a character in their own right and what happens to them has nothing to do with them or their narrative.

Mako Mori was the deuteragonist, or second main character, of Pacific Rim 1. What made her different from just being a supporting character was that she had her own story entirely independently from the other main character, Raleigh. Her story was about how her family was killed in a kaiju attack, she was adopted by the legendary pilot Stacker Pentecost, she longed to become a pilot herself and strike back against the monsters that had taken so much from her and others and to prove to her adopted father that was as strong and capable as he. In Uprising she is killed in a helicopter crash to prevent her from delivering her negative views to a committee about deploying drone Jaegars. She is mourned briefly (but with incredible acting by John Boyega) and it’s revealed that her dying act was to send information that advances the plot one step.

This is a really crappy way to see a character out. This is right up there or worse than things like Tokyo S.O.S. where the entire previous movie was about building up the character of Akane only to shuffle her off at the start of the sequel for “Special Training in America”. This is worse than the Power Rangers’ peace conference they kept sending Rangers too. I mean, in the 2nd Mortal Kombat movie, they kill Johnny Cage in the first five minutes and THAT was better than Mako’s exit because at least he died doing things in his character, ya know, fighting the bad guy, and it raised the stakes by saying “oh this guy beat the tough guy in the previous movie but THIS tough guy killed him like nothing”. The other main character from the first, Raleigh, is just never seen nor is his fate brought up, THAT would have been preferable to this.

I’ve heard rumors that this was done for political reasons to get better box office in China. The first movie’s bad performance in China was largely blamed on the fact that it featured a Japanese woman protecting China, or so it is said. I’m not sure if I believe that was the actual motivation, but with the lousy killing of that Japanese woman and then having a Chinese woman go on to protect Japan, well, I see where the rumor is coming from at least.

So yeah, tl;dr, the way they killed Mako sucked and I don’t blame anyone if that’s a deal-breaker on their enjoyment of this movie. If they decide to bring her back as a cyborg or say that she survived the crash, but they put her in hiding for her protection, or whatever in Pacific Rim 3, I’m all for it. It would be dumb, but not as dumb as how they wrote her out in the first place.

All that out of the way, there was a lot I liked. The Mako thing puts a big “but” on my feelings, but I still liked it. There were other little issues I’ll talk about too, but none of them are comparable to the killing of Mako.

STUFF I LIKED! Jake Pentecost! I have yet to see John Boyega not be a delight to watch and this movie did not break that streak. His character was funny and charming in a dorky way. He also had to do most of the emotional lifting on this movie (with his dead disappointed dad and his newly dead sister and his shame at his past bad behaviors) and he carries that weight like a friggin champ. Also I really liked how they seemed to be leaning towards a OT3 with his copilot, whom he does call sexy and seems to have the most feelings about, and that engineer lady, who was just kinda there to make it less gay I guess.

The cadets! These kids, I may not remember all their names, but they brought a great feeling to the movie. I’m not gonna lie, I like kids’ stuff sometimes (a lot of the time depending on your definition of kids’ stuff) and kids in action/adventure is easy to fuck up. They brought in a lot of energy and the idea of “the younger generation” being able to step up and even being pushed to do so before it might be seen as appropriate due to a rapidly deteriorating situation is certainly relatable. Also they actually killed one of them as a way of saying “no, their youth does not guarantee their safety for the finale”. Also they used a giant robot to flip off a giant monster and I have to respect that.

Scrapper! Most the Jaegars in this movie felt more than a bit derivative of the ones from PR1, but that little girl was a delight. I liked the idea of a mini Jaegar able to run with one person and move into smaller areas faster. I loved how she rolled up into a little ball to preserve momentum and to protect the pilot during impacts. I loved her being used to do field maintenance on one of the bigger Jaegars in the finale. I just really feel that scrapper was an unsung hero of the movie.

Newt and Hermann! PRECIOUS GAY NERDS! If you watched PR1 and 2 and you actively deny that these two are in love, we are not friends any more (feelings of ambivalence are fine, but it won’t win you any points in my book). These two stole the show every single time they were on screen and that is impressive for a giant monster movie to make me actually more into the scientist characters than the pilots. I know some people were pissed about Newt being brainwashed by the Precursors, but it’s not like he was a willing ally. I mean, he was all but crying when he was strangling Hermann (who also seemed to be effing reassuring him that it wasn’t his fault and aaaaaaa I’m gonna cry). And honestly, I think giving the Precursors and the kaiju a human face and voice, and one as interesting as Newt’s, was a great idea. It actually made me hate the Precursors in a way beyond the generic “they’re trying to destroy the earth” way. If a third happens I want Newt to be struggling back and forth under their control. Also he and Hermann should kiss.

This does segue into my favorite complaint against most things by the way; it should have been gayer. I use this complaint so much that it’s basically a running joke with my friends, but I mean it every time. Newt and Hermann are in love. Their plot in the first movie was all about them coming together and how it made them better and helped them to aid in saving the world. In this movie, I don’t even know where to start, it’s just unambiguously a sad romance where two people’s lives split when they both know they’re happier together. Like even the people making the movie straight up say that, yeah, that’s intentional and it would have been explicit if the powers that be didn’t fear losing money by having gay stuff. Also there’s no way way Viktoriya’s hostility towards Amara didn’t stem from misplaced feelings of attraction, I honestly expected (hoped with my gay heart) that Vic would kiss Amara during the finale.

I liked the kaiju! THIS SHOULDN’T SURPRISE ANYONE! Now the three main kaiju that attack Japan, none of them really stood out too much to me other than one of them had a cool thing where their face opened up and one of them liked to dig I guess(?), but that wasn’t all we got. The Jaegar/Kaiju hybrids that attacked in mass were pretty effing cool, honestly with their color variation from white to kaiju blue glowy bits and weapons and yeah. Then we got the Ultra Kaiju that was a combination of the three big un’s that attack Japan, that thing was quite the friggin monster. It may seem like a silly thing, but a kaiju that is a giant to other giants always gets me, like, terrified if done right. Were any of them better than my girl Otachi from PR1? No, but I wouldn’t mind having toys of any of them on my desk either.

The action! I mean, duh, it’s an action movie, if you don’t like the action you’re not gonna have a good time. I can’t say it was better than PR1, but I CAN say it was better LIT than PR1 with all the colors of the kaiju and jaegars shining brilliantly and all their moves on clear display. And they did a damn Rider Punch from the atmosphere to kill the Ultra Kaiju. I even loved Newt and Hermann beating up the guards in the elevator in their feisty nerd way.

Oh yeah, the other thing I didn’t really like was the ending. Like the very ending after they Rider Punched the Ultra Kaiju to death and captured Possessed Newt. I get that they were trying to have a light moment much like the end of PR1, but Jake and Amara having a snowball fight right after a fight that left them both pretty banged up and one of the cadets dead, along with probably a lot of civilians, was just kinda weak and odd. And where the flip was Shao? She was instrumental in saving the world, you'd think they'd give her a parting scene/shot. Then came the sequel stinger and I just wasn’t feeling the idea of a movie where we invade the Anteverse. I mean, it might be cool, but it just made me think of a movie with humans running around in giant robots and stomping on aliens, but it being ok because it was us doing it to them this time.

So yeah, those are some of my thoughts on Pacific Rim: Uprising. I get why some people hated it or just didn’t care that much about it, but I enjoyed it even with it doing Mako dirty. See you in the drift, nerds!

[hipsofsteel]

Find Out For Yourself

A RusCan fic written during FemSlash February 2015 (FrUk and eventual AmeBel as well)

Prompt: Person A goes by an alias, to the annoyance of B. The only way B will learn A’s name is to “find that out for yourself.”

Anya Braginsky has been using an underground social site for years to speak to other members of the LGBTQ community. Her best friend is a user named MapleBabe, who was her first friend online. Two years after their first online meeting, they both agree to go to Hetalia University, and MapleBabe challenges Anya to discover who she really is. While trying to figure out the mystery, Anya meets Madeline Bonnefoy, a fellow member of the school's women hockey team, and develops a close friendship, all while still trying to discover and meet MapleBabe. She might be a bit closer than she thinks.

PS This work features Trans Girl America

[Chapter Masterpost Here]

Chapter Four: Pain

Natalia didn’t seem comfortable. “This house is huge and I don’t know these people.”

“It’ll be okay. They won’t hurt you, and it’s not like the crime bosses swing through here.”

“How do you know that?” She stated, her hands sitting right above where her knives were hidden.

“Okay, they’re definitely not going to attack you because they are gay. Francis is a bit of a flirt, but he is gayer than gay. Also, they have their own daughter, so they’ll respect your privacy. Just consider the difference between this house and home.”

Natalia sighed. “Fine, let’s go in.”

We entered the house to find Maddie talking to Arthur. Given his red face, I knew they’d been fighting. She turned and smiled. “Ah, Natalia. Good to meet you!”

Natalia nodded, a little taken aback. Maddie was all smiles and sunshine however. “You can stay in my room while you’re here, since I’ll be going back to school tomorrow. I think papa and I saved some of my old clothes in the attic, and they might fit you.”

The bubble parade dragged my sister upstairs. I sighed in relief, until Arthur turned to me.

“Get out.”

“What?”

“I’ll shelter your sister because Maddie asked, but I don’t want you in this house. Get out.”

“Angleterre, that’s no way to treat a guest.” Francis said, sweeping into the room in an explosion of color. That seemed to anger the Englishman more. “You’re welcome to stay for dinner, Anya.”

I shook my head. “No, I don’t want to impose.”

Francis cast a glare at Arthur, and then turned to me. “If you cannot stay for dinner, then I will take you out for dinner. Maddie prepared something for Natalia, but there is a nice little cafe a few streets over that I think you would enjoy…” He said this all while pulling a coat on. “And since you and Maddie have been such good friends, we owe it to you.”

Arthur started to move to the door.

“Angleterre, I thought you told me that you needed to finish the quilt you were making tonight. Why don’t you stay here and do that?”

Before he could object, Francis had grabbed my arm and pulled me out the door.

When we arrived at the cafe, we were greeted by an angry young man.

“Oh, it’s you.” He said, sounding less than thrilled.

“Lovino! How is the business going?”

“Fine, you bastard.”

The place was practically empty, and a slightly older man came out of the kitchens. “Francis! Who’s the young woman with you? Don’t tell me I have to report you to Arthur.”

“I only have the purest intentions for this fine young woman, Antonio. May I have the booth in the back?”

“Only if you answer a question.” Lovino responded, and then turned to me. “What’s the name, beautiful and intimidating?”

I glared at him.

“Okay, fine, try to flirt with a pretty girl and…” Lovino started to say, but the other man unsubtlety kicked him in the shin. This was followed by a volley of curses and a lot of shouting as Francis and I escorted ourselves to the back table.

After placing our orders with Antonio, Francis spoke to me. “Anya, I know that I’ve said a few things that perhaps don’t make me seem like a great parent, but I want to try and get better.”

I paused, and then spoke. “What exactly are you saying?”

“I am a little less rigid in my views than Arthur. I want Al- Amelia back home. I want to support her as much as I can. I want her to know that no matter what, we’ll always be her family.”

“You have to be more sensitive about these things, and listen to her when she talks about it.”

“Yes, I know. I have a lot to learn, for both my daughters. Maddie told me that she was a lesbian yesterday. It’s… well, it’s a lot to take in.”

I nodded.

“Are you and Maddie involved?”

“No, we’re friends, but we aren’t dating.”

He nodded, and then spoke. “If you can talk to Amelia someway, tell her that I love her and want her home, okay? And also tell her that I will fully support her in any argument against Arthur.”

I nodded.

We ate our meals with a constant stream of chatter. Antonio and Francis had been friends for a long time, and despite the flirting, I quickly realized Lovino was in love with Antonio.

As Francis and I finally departed, I asked him. “What’s between Lovino and Antonio?”

“They’ve been friends for years. Lovino’s been trying to drop hints to Antonio this whole time, but he’s been painfully oblivious. Antonio’s the only person in this whole town that doesn’t realize Lovino’s in love with him.”

“That must be a pain in the ass.”

“Oh, it is. Arthur was the same way. You could drop all the hints you wanted, but unless you say it to them directly, they won’t ever figure it out.”

We went back to the house. Francis invited me in.

Natalia came over and spoke. “Hey, thanks for bringing me here.”

She had visibly relaxed somewhat, and was even wearing a new set of clothes, although they were slightly musty.

I nodded. “I have to go back to the dorms now. Are you going to be okay here?”

“Yeah.”

AnyaBee is online

AnyaBee: Hey, I have some news.

LifeNLiberty: Is it the type that makes me leap up and down with joy?

AnyaBee: Francis took me out to dinner tonight and told me that he loves you no matter what. He even referred to you with female pronouns, though once he slipped up and called you Al. But overall, he did pretty well.

LifeNLiberty: What about my biological dad?

AnyaBee: Francis said he’d help you in all the fights you have with him.

LifeNLiberty: That’s not enough.

AnyaBee: Amelia, I don’t want to pressure you, but you’ve been gone for two weeks now. Don’t you think it’s time to come home?

LifeNLiberty: No. I want my dad to love me. Francis might have helped raised me, but he’s not family the same way that dad is. Until dad is at least going to try and accept me, I’m not going home.

AnyaBee: Okay. Stay safe, alright?

LifeNLiberty: Will do. Good night.

Natalia called me every day. Sofia started to visit her at the Bonnefoy-Kirkland house. My parents decided it was good riddance and just dropped all of Natalia’s stuff off in the middle of the night.

I continued at school. It was April now, and spring term was coming to a close. Hockey season was over, and I was able to focus on my studies.

Maddie and I were laying on the floor with textbooks in front of us. I was quizzing myself on my astronomy, she was practicing her explanations of the carbon cycle in nature. Odeta was off in one of her finals already. I didn’t understand how she was able to keep going.

Suddenly my computer beeped. I sighed and went over to see what it wanted.

HONDA_K has sent you a message.

HONDA_K asks: Anya, you need to get over to Mercy Hospital right now. Amelia’s in the emergency room, and it looks pretty bad. Please respond ASAP.

I froze and then typed a reply back.

AnyaBee: Maddie with me. Will be there ASAP.

I turned and slammed my books shut. “Study time is over. We have to go.”

“What are you talking about?”

“Amelia’s in the hospital.”

We arrived as fast as we could. A young man approached us. I guessed he was Honda.

“Maddie, Anya?”

I nodded. “Are you Honda?”

“Yeah.”

“What’s going on?”

“Maddie, met Amelia’s boyfriend. She’s been living with him since the end of February.”

Maddie paused, and then growled at me. “You’ve been in touch with her the whole time, haven’t you?”

I didn’t answer with the proper response. “Look, we have more pressing things to think about right now. What happened?”

Honda sat down in the nearest chair. “We were standing at the bus stop, and she was crying. I asked her what was wrong, and she said she was just tired. I went over to get her a cup of coffee when suddenly she sprinted out into the middle of the street. A car just slammed into her…”

His voice faded out, and then he shook with sobs held inside.

Maddie looked terrified. I paused, and then spoke. “Should I call your dads?”

She nodded, sitting down next to Honda.

I called the house and got Arthur. “Hello?”

“Hello Arthur, it’s Anya…”

“I don’t want to talk to you right now, Anya.”

“Arthur, it’s important.”

He hung up. That pissed me off. I tried Francis’s cell, but it was turned off, because I just got a pre-recorded This number is not available at this time message.

I finally called another cell number, the newest addition to my contacts.

After a few attempts, I was answered. “Anya, I’m at school, this had better be good. My new teachers already don’t like me a lot.”

“Look, I need you to call Arthur and tell him his kid is in the hospital. I tried to talk to him, but he wouldn’t listen and Francis has his phone turned off. Just tell him that we’re at Mercy Hospital’s ER, and he needs to get here now.”

There was a pause, and then she spoke. “Will do.”

Half an hour later, a stressed Englishman entered the ER. He saw us and came right over. “What’s going on?”

“Amelia tried to kill herself.” I stated.

“You mean Alfred.”

Madeline stood up. “No, we mean Amelia.”

He glared at me, even though he was speaking to Maddie. “Alfred is your brother. He is not a girl, nor was he named Amelia.”

Honda hadn’t said anything yet. I think he was trying to disappear. After all, the angry Englishman didn’t know Honda had been hiding Amelia since February.

I grabbed Arthur’s arm and pulled him up. He was shorter than I was, and the movement startled him. I stared at him. “Listen to me right now, Arthur Kirkland.”

He tried to pull free, but I didn’t let go. Finally he stopped. “What do you want?”

“I want you to understand something very important. You said that if Alfred became Amelia, he’d be throwing his life away, and end up dead in a ditch. What you don’t understand is how he’ll get there. If there’s no one to love him, no one to talk to, he will be dead. Amelia told me something while she was gone. She doesn’t care how much Maddie, Francis, her boyfriends, and her other friends try to help her. The person whose love she wants most is yours. You’re her biological father, the man who raised her. You say that no son of yours will throw their lives away for some stupid dream, but what you don’t see is who destroyed them in the first place.”

“What are you implying?”

“If you decide you don’t want to be part of Amelia’s life because she’s not what you want, then maybe you’re the reason she’ll be dead in a ditch. She said she was tired. What was she tired of, I wonder, except I don’t have to. She was tired of not having your love, and that’s why she stepped out onto that street. That’s why she let herself be hit by that car. She was exhausted, and you were the reason.”

Maddie stared at me.

“If you don’t want to accept Amelia, then I don’t think you’re going to ever have a daughter or a son. If you continue to hate her, then I suspect that she will never come home. Maybe it’ll be because she’s dead, but I think she’s stronger than that. I think it’ll be because she knew the only way she could survive was to avoid you for the rest of her life.”

He stared at me as well now. I dropped his arm.

“If you won’t love your child, then they don’t need you as a parent.” I stated.

A nurse came out. “Honda?” He stood. “She’s out of surgery now. Is this his- I mean, her family?”

“Yeah.”

Arthur turned towards Honda, looking confused.

“She’s in the ICU. You can go back and see her, although she’s asleep.”

They guided us to the ICU, and Honda and Maddie went in. But I stopped and blocked Arthur from entering.

“What are you doing?"

“Asking you to make a choice.”

“Right now?”

I nodded. “If you don’t want to accept Amelia as who she is, then you are going to turn around and leave.”

“You can’t do this. I’m her father! I mean, his father!”

I looked at him for a long time. He seemed to turn cherry red.

“Arthur, tell me, is that your son whom you’re going to force to be miserable every day the rest of his life, or is that the daughter you’ve lovingly raised?”

He paused, and then leaned against the wall, visibly shaking.

“I just don’t want something to happen. I raised him since he was born, loved him, cooked for him, sang him to sleep. I want him to be safe.”

“Then let Alfred go, and welcome Amelia into your heart.”

At that moment, Francis came down the hall. “I’m so sorry! I didn’t know anything until Natalia called me!”

Arthur turned and pulled the Frenchman into the hug, and began to cry. Francis looked at me, his eyes growing wide with worry. I mouthed She’s fine to him, and he relaxed a little.

Finally Arthur spoke. “I’ve been a horrible father.”

“Angleterre…”

“She needed me, but I couldn’t do it. God fucking damn it, it’s all my fault, isn’t it?”

Francis started cooing and calming Arthur, guiding him over to a bench and sitting him down. I paused, and then headed into the ICU.

Kiku sat in the chair, staring, and Maddie stood nearby, looking at her sister.

There were still some incredibly obvious masculine features, such as the darkening of her facial hair, but Amelia’s hair was longer. Down to her shoulders in a bob-style, with big loose curls.

There was a cut across the side of her face, and she was bandaged on nearly every inch of her body. Her glasses, cracked, had been set off to the side.

Maddie turned to face me. “How is he?”

“Your papa arrived, and he’s not doing all that great, but I think we’ve had a breakthrough.”

She nodded, and then looked at her watch. “You know, Nat’s at the house right now.”

“I’ll go out and stay with her if you want.”

“Yeah, thanks.”

We both exited the ICU. Maddie went over to her dads. She took Arthur’s hands, and he looked up at her.

“Wanna go see how Amelia’s doing dad?”

He paused, and then nodded. “Let’s go see her.”

I smiled a little. That slight change gave me the smallest hope for a victory, more than I had had for a while.