#i so badly want a book or a comic run about when it was just kanan hera and zeb on the crew. i need to know how they met

[bikananjarrus]

just...thinking about how zeb was picked up by kanan and hera, two kids (basically), one of whom was also a survivor of genocide, and another whose species has been persecuted, enslaved, etc. repeatedly, and they helped him. zeb, who hadn't seen young people of his own species in so long, and as an older being, he's probably unsure of his place in the galaxy after what happened on Lasan, and having young people trust in him, look up to him, rely on him, that probably made zeb feel so needed and wanted. like, they're experienced and confident, and far wiser and more mature than maybe someone their age ought to be, because of what they've gone through. so he probably doesn't think he can teach them much.

and like zeb knows they're young; but just thinking about when that really hit him, how young they are. and how he probably vowed to look out for them, as much as they look out for him. like, thinking about how much fear he probably had in calling any place home again, after what happened to his last home. but these two young adults gave him a home, a safe place to land; they gave him their friendship and gave him a little found family to call his own after everyone he lost. and he's happy and proud to belong to a family again.

[bluesidez]

GymRat!Miguel Part 4

content warning: mentions of sexual coercion (may be triggering to some so I marked the area where I talk about this subject with 🎧, the story will still make sense if you have to skip it), the word assault is used once in regards to Miguel’s situation at the party, fluff to make up for the last part, Miguel’s biological father is Tyler Stone here but he IS NOT comic book Miguel physically by ANY MEANS 😭, the progression might be a little fast?? I hope not though I want them to kith 👩🏾‍❤️‍💋‍👨🏽, a little suggestive at one part but nothing serious

word count: 2.4k (at this point y'all...you must know that I like telling stories because wtf), kinda proofread

Prev | Next ✩°｡ ⋆⸜ 🎧✮ Masterlist

GymRat!Miguel who set his alarm for 8 am the next morning. It rings long enough for his roommate to get up and shove him in his side.

“Shit. Sorry,” Miguel groans. His head is splitting and he feels like he’s been run over.

“Coming in at ass o’clock in the morning and letting your alarm ring past 12 rings? What happened to my roomie?” Peter muses, scratching is stomach. His own eyes are tired as he blinks at Miguel’s body slumped against the bed.

“A party that I should’ve never gone to,” Miguel says, bringing the ends of his palms to his eyes and breathing deep. “Nothing went how I wanted it to.”

“It looks to me that you got everything you wanted,” Peter yawned, going to grab a water from the mini fridge. He handed it to Miguel who thanked him and emptied the whole thing in one go.

“I left a girl that I really liked alone there,” Miguel replies, voice broken. “Was stuck in a room with a bunch of girls I didn’t even know. I was gone way too long and she left.”

“Shit, O’Hara,” Peter said, eyebrows raised. “Did they do anything to you?”

“No. After they realized I wasn’t trying to do anything, they just tried to bring the party upstairs. I didn’t get back downstairs until two hours later.”

“Did you reach out to your girl, at least?”

Miguel reached for his phone, “She texted me when she left and I texted back later.”

He looked at his phone, going to your messages. “And still no reply.”

“Can you blame her?” Peter asked, getting back in his own bed. “If I left my girlfriend anywhere while we’re out, she would literally have my head on a wall.”

Miguel wanted to cry. How could he fuck up something so badly?

He sighed as he brought his knees up, resting his arms on his knees. He put his head on his arms, trying to think.

“What should I do? I really like her,” he asks, voice watery.

“Not to be that guy, but there’s no time like the present,” Peter says. “Tell her the truth. Explain things to her. If you’re feeling that awful, do something for her.”

Miguel sniffles and groans out, deciding to get up.

“You’re right,” he says. “No time like the present.”

GymRat!Miguel who grabs a light breakfast and gets straight to work. He thanks the universe that his mom packed a bunch of aimless art supplies in one of his bins. He gets to crafting, putting his heart into everything. He’s freshening up, spraying on cologne, bringing out the slacks that make his ass look great, tightening his belt, fixing his hair. He tightens up so well that even Peter whistles when he walks out of the bathroom. He grabs his craft and goes off campus to a store, buying a few snacks, a circus animal cookie plush, and a gatorade in case you happened to be a little hungover too. He even goes the extra mile and finds a cute apology card. If anything, he hope you could get a laugh out if it.

GymRat!Miguel who makes his way to your dorm building, some guy letting him in after he saw him lingering around the door like a kicked puppy. He thanks him profusely and runs up the stairs to your door. He stands outside in the hallway for a minute and catches his breath, trying to still his beating heart. He gives a light knock, hoping you were there.

The door opens, revealing another girl who looks Miguel up and down with a scowl. Her hand is on her hip and her bonnet moves with her head as she stares Miguel down.

Miguel stutters, asking if you were there.

“Maybe, depending on what you’re about to say next,” she says.

“Look, can you tell her that I’m deeply sorry. I should have never left her alone last night. She didn’t deserve that. I apologize for even accepting the invitation to go. I should have known better. Nothing was worth me staying upstairs that long. Can I just- please, let me just talk to her,” Miguel pleads, desperate.

Your roommate just goes “hmph” under her breath and closes the door in his face.

Miguel’s arms drop and he gapes at the door like a fish. He’s willing to stand here until you have to come out, but isn’t sure what to do.

Just when he considers knocking again, the door swings open again and you’re standing there in a giant t-shirt and pajama pants with pokeman balls printed on them. A giant blanket is wrapped around your body.

You look at him, eyes cautious, “Jess said you were groveling. I’ll give you 5 minutes of my precious time. Something you clearly know how to waste.”

You sounded hurt and Miguel felt like dying.

He takes a deep breath calls out your name.

“I am so sorry for leaving you the other night. It was extremely fucked up, especially when I made sure that you could come. Anything could have happened to you and it was careless of me to not see that. I promise you my mom raised me better,” he says, looking down at your face.

You just crossed your arms and scrunched your mouth up. Even now, Miguel was still infatuated with you.

“I’m glad that you understand how fucked up that was. I was worried about you. I waited. For hours. I didn’t know anyone there and it was nerve wracking,” you say, words coming out like ice.

“I know and I apologize. Truly. Please just,” Miguel hands you his gifts. A gift bag full of the goodies he bought and an origami flower bouquet with a few lilies of the valley sprinkled throughout. A flower for renewal. A flower that he hopes speaks to you. “Please accept this and my honest apology.”

You look down at the flowers, taken aback. “Did you make these?” you ask, a little awed.

Miguel rubs one of his wrists, completely nervous, “Yes, I did. The lilies are real, though.”

“Well, obviously, Miguel,” you laugh softly at him. You start to go through the bag, heart warming at his initial gift.

“If you’ll accept my apology, I really would like to try taking you out. Again,” he says, shifting his weight to another leg.

“Wasn’t aware that last night was a date but slow down, tiger. I didn’t say I would forgive you yet.”

“Right!”

You took out the cookie plushie, cursing in your head about how cute it was. He really did know you. You kept going, heart melting the further in the bag you got. You finally got to the card, taking it out of the envelope.

You laugh at the cute seal, “You were an ‘ice hole.’”

Miguel heart sings at your laugh, happy that you were finding joy in this somehow.

You start to read the card, eyes wandering the page. His heart is hammering. Not only did he write his heart out, he dropped his confession of love like for you at the end. Whether or not you accepted it would make or break the rest of Miguel’s week.

Your eyes slowly drifted and you started to blink faster.

“Our time together has been short, but I think of you day and night. I dream about you. Your eyes, your smile, your laugh, your touch. It sounds sudden and cheesy but none of these parts of you escape my mind. I’m not sure what it felt like for you, but as soon as I was lucky enough to be graced with you in my lab group, I was stuck. To me, you lit up the room. I want to continue to explore that light, if you are willing to have me. May you please forgive me and consider going out with me?”

“If this feels like too much, I completely understand and I’ll-”

“Shut up,” you say, eyes teary. “Do you really mean this, Miguel?”

He stares at you, itching to reach out and hug you, “Every word.”

You wipe at your cheeks, a little overwhelmed. “Come here, you big goof.”

Miguel practically teleports the short distance, wrapping his arms around you. You sniffle in his chest, warmed up in his arms.

“I forgive you,” you say, words muffled into his shirt. “Just don’t ever do that shit again.”

He brings his hand to his head in a salute, “I won’t. Scout’s honor.”

“Of course you were a Boy Scout,” you say, giggling as you look up at him. He smelled really good and looked delectable. If you were weaker, you would have answered the door instead of Jess and filled the hallway with obscenities.

🎧

“Tell me though,” you say, trying to ground yourself. “What does one do when he leaves me for two hours?”

Miguel felt a groan in his chest, “Those girls were trying to do some weird harem thing. I was stuck in a room telling them no, trying to drink my way out of there. They kept trying to add more people to the mix, thinking I would go along with it. I didn’t want a case on my hands so it took me a while to get out of there without force.”

You went rigid in his arms, “Oh my god, Miguel!That’s assault.”

“Nothing crazy happened. I made sure that none of them got handsy.”

You bring your hand to his face, “That’s great, but there was still alcohol involved, which makes that coercion. Did you tell anyone about this?”

“Just my roommate, Peter. He sounded a little worried, but we were more focused on getting me to this point with you.”

You remove yourself from his arms and step back into your dorm.

“Stay right here. The council needs to discuss and Jess is on the Student Association,” you say, leaving a crack in the door.

GymRat!Miguel who is sat on the floor of your dorm room and explained the implications of what he went through. Jess ensures him that she’ll get somebody on the case despite Miguel saying that he was ok. You both ensure him that nothing will happen on his end and that this should stop those girls from doing this to anyone else in the future. Miguel is on board with that and you give him one more tight hug.

“Although you didn’t have to, I wish you would have told me. I would have came barging through those doors,” you say, a frown on your face.

“Really, it’s fine. I feel a little silly going along with the whole ordeal anyway.”

“None of that is your fault though, Miguel. You didn’t know what they were going to do or what they were trying to do,” you say, voice firm.

Miguel was enamored by your passion, “Thank you for saying that. If it helps, my father is Tyler Stone.”

Jess turns her body completely to you both on the floor, mouth dropping in shock, “Oh yeah, that entire organization is getting shut down.”

🎧

GymRat!Miguel who walks you out of your dorm, hand in hand with you. You two agreed on a nice coffee date. Something light after so much turmoil. You looked adorable, running around the room frantic and getting all dolled up just for him. He’s happy that he was able to work things out.

GymRat!Miguel who sits across from you, rubbing your hand with his thumb as you both sip your drinks. He begs for bites of your chocolate cake and you roll your eyes and feed it to him, a little shy at the PDA.

GymRat!Miguel who explains his family tree to you. You're still shocked at the Tyler Stone name drop. You're empathetic to his situation, agreeing with how tough it was to find out someone you knew for so long wasn't your actual father. He assures you that he's settled with the feelings for now, just happy to still have a connection with both of his dads and his mom. Plus, the money Tyler sends him was not anything to be sad over.

GymRat!Miguel who learns of your dating history. You've had a boyfriend and few meaningless dates. As you describe how he treated you, it makes sense that you were ready to completely block Miguel out of your life. Who stands up their prom date that they did a promposal for?

GymRat!Miguel who takes you shopping at the bookstore. Letting you get just about anything. Some romance books? Grab it. A plushie? Of course. A Beyoncé vinyl? No need to even ask. He was happy following you around the store as you squealed over certain things. Your eyes twinkled as you explained a series about a deaf girl falling in love and her boyfriend learning sign language to communicate with her. Miguel responds accordingly, humming at whatever you say.

GymRat!Miguel who feels crazy watching you eat a strawberry ring pop that he got from candy machine. You placed it on your left ring finger and he watched as your lips kept puckering around the crown of the candy diamond, taking it to the hilt and pushing it back out. Your tongue would come out occasionally as you slid the candy down it.

"Is it good?" he asks, mind in the gutter.

"Mm hm," you say, a smile on your face, ring pop popping from your mouth.

Lord help Miguel.

GymRat!Miguel who opens his car door for you. He also reaches across and buckles your seatbelt for you, body close to yours.

GymRat!Miguel who walks you to your dorm room, hand still in yours. You both linger there for a moment, taking in each other's space. You peer up at Miguel with those Bambi eyes again.

"I had a really great time with you Miguel," you say, holding your new bag to your chest. "I'm glad you came here this morning."

"I'm glad too," Miguel says looking at you, hearts in his eyes.

You bite your lip, rocking on your feet before you decide to do something.

You reach up on your tip toes and kiss Miguel on his cheek.

He stares at you, shocked. He stares at you a little longer, then begins to lean down. You get excited, hoping that he'll do what you were scared to do.

Jess swings the door open, "Aht aht! Come on inside, girl."

Miguel stands straight, face in flames.

"Good night, Miguel," you say, cheeks feeling hot.

"Good night," Miguel watches as Jess smirks at him before she closes the door.

GymRat!Miguel who floats all the way back to his dorm. Peter grins and tussles with him in excitement after taking in Miguel's appearance. He texts Gabriel while he gets ready for bed:

"When have I ever lost?"

"I kicked your ass in Mario Party last week but go off Ig"

"🖕🏽"

"🫰🏽"

Miguel went to sleep once more, having thoughts of you.

dividers by: @yeribbon 🩵

a/n: I’m almost certain that this is the LAST time something this serious happens in this series. It will be pretty fluffy for a while...I think 🫣

As always, thank you for reading! Leave a like and a reblog. Please comment! I love to hear what you guys have to say 🥺 🩵

taglist: @ghost-lantern @miguelhugger2099 @slushycoookie @emelie-s-h @lake-lili @obsessed-with-miguels-ass @scaleniusrm @superiorspiderass @lexluvswriting @flordelalunas @froggygal @vmpz8sauceee @famouscattale @nixinluv02 @jada-of-arcadia @spideykid22 @what-the-jams @julia4today @tojishugetiddies @samjinxx @sleeklyalisha @the-pan-liquid @prongs-lover @kikaaauu @urlocallocachica @wanderlustingcastaway @peachey-pie @ch3rry-bl1ss @girl-of-multi-fandoms @love-kha1 @manlikemilesmyguy @sillysillygoofygoose @monticellohoe @kodzuminx @lauraolar14 @bruhhvv @m4dyy @farrowroyale @ce3stvu @ohara-whore

[theflashjaygarrick]

It's a missed opportunity that despite Roy Harper and Jason Todd hanging out now there's been never any tension between about them or exploration of their differing approaches and perspectives on the drug crisis. Particularly because for both of them it is deeply personal.

Roy Harper.

Roy became addicted to drugs in the 1971 comic Snowbirds Don't Fly which was Neil Adam’s and Dennis O'neill's attempt to tackle the "youth's greatest problem!" drug use and addiction. I feel like all most people know is that Speedy took drugs and Ollie took it badly, but that honestly ignores the whole point of the story. The story challenged contextual stigma around addiction and drug use as a personal failing or something that only happened to weak people. It explored how it could happen to anyone, even a hero like Speedy. It focused on the social factors such as racism and poverty and how they push people into substance abuse as a way to cope. It even turns the trope of the evil foreign drug cartel on its head by making the guy behind the drug supply a wealthy white American man in who runs a Pharmaceutical company, doesn't do drugs, and actively mocks the people he profits off the suffering of.

The point therefore is twofold. Firstly, drug users are people just like you and me and it is vital to be compassionate to people struggling with addiction. Ollie who yells at and hits Roy and leaves him due to anger and fear is clearly in the wrong. Hal and Dinah who look after Roy and stand beside him at his friend's funeral and as he confronts Ollie are clearly in the right. Secondly, the solution is not to focus on the drugs but instead to deal with the systemic problems of inequality, oppression, trauma and disenfranchised youth.

Despite parts of it ageing bad (the use of slurs was to demonstrate the damage of racism, but I feel uncomfortable having slurs uncensored in a comic book written by white authors) it is a surprisingly progressive take on addiction for a mainstream 70s DC comic. It also clearly demonstrates Roy's opinion on the drug problem and how to deal with it. He sees anger and going after dealers/manufacturers (like Ollie did) to not be enough. Instead the real change comes from helping the people in that situation by improving their lives and compassionately helping them at their worst.

Enter Jason Todd.

For context Jason Todd has had almost his entire life shaped by trauma of substance abuse. His (adoptive) mother Catherine struggled with addiction and overdosed just months before he met Batman, effectively orphaning him. Soon after he was found by Batman who essentially drafted him into his crusade on crime, not considering that being a vigilante may be potentially damaging for an already traumatised child.

But when he came back in UTRH he decided he could best help Gotham if he killed (largely non-costumed) criminals and controlled the city's criminal underworld himself. After violently assuming control of the drug trade, Jason imposed his own rules for dealers, most famously that he would kill anyone who sold drugs to children or near schools. Later while incarcerated Jason Todd killed 82 Blackgate inmates (and harmed over a hundred) by poisoning the prison food. This mass murder was intrinsically indiscriminate and due to the US prison system it is reasonable to assume people charged with drug offences were included in the death count.

Jason does have deep childhood trauma associated with addiction and drug use and wants to help prevent suffering. That being said, his approach treats drugs as a criminal problem to be eradicated or controlled, not just a symptom of deeper social issues. He kills people who sell drugs to kids, rather than helping building a support system so kids aren't pushed into abusing substances to cope and people don't have to deal to survive.

What does this mean?

Scott Lobdell got details of Roy's addiction wrong and distorted him into a reckless idiot who has been ostracised from the community. But if it was done right their interaction and opposing perspectives/experiences could be really interesting. Both hate drugs and the drug trade, but the way they conceptualise this hatred differs significantly.

Roy focuses on helping the individual and addressing deeper social problems, seeing drugs as a devastating but ultimately symptomatic. Jason sees drug use as first and foremost a criminal issue, with true benefits being achieved through controlling the criminal underworld.

Roy's priority is therefore supporting people struggling with addiction and showing compassion for their situation. Jason doesn't really focus on ways to help the individuals suffering from addiction, as much as mitigating the overall harm and fitting the drug trade into parameters he views as acceptable.

I think it would add needed complexity to their relationship (and to Jason's redemption if we're going that route) as well as dealing with the more 'war-on-drug' elements of UTRH. Also it would help Roy stand on his own as a strong, articulate leader with a dark past rather than being (at least for a while) reduced to essentially Jason's sidekick.

[pumpkinbxtch]

hey, ik requests are closed but if you could do this one, i'll be very grateful. just remember, if you don't want to, you don't have to.

i was thinking if post-trial apollo, meets the reader, after the trial (can the reader be a child of Hades? like a child of Hades would be so iconic), love at first sight (fuck, why is this so cliche 😭😭) and tries to spend more time with the reader. the reader is new to the entire camp thing, and is getting more used to it, and grows closer to Apollo. but he's like scared to admit he's in love bc he thinks, that just like all his past lovers, the reader would run away, or kill herself, or fall into deep trouble, but after some really had event in which he almost loses y/n, he goes all haywire, confessing everything and it becomes a cute, fluffy scene together

AGAIN ik you aren't taking in requests, so if you don't want to do it, it's totally fine. love so many of your fics btw ♥️♥️

i love you, isn't that the worst thing you've ever heard?

— apollo/lester x child of hades!reader

warnings: none a/n: Hello beautiful person. You're seeing this, now you know that I take your request and I want to say why and it's because you asked me so nice that I couldn't resist. I have corazón de pollo which is something like being very sensitive or being warm-hearted. Anyway, let me know if you liked it. I hope it was like that and thank you for reading me, for your support. ❤️ Kisses from Pluto! ha ha

Your legs settled back over Apollo’s knees, and he kept them in place with his hands, letting out a snort.

— You’re pretty comfortable with a god, aren’t you? — His pretentious tone just made you smile and shrug.

— You didn’t move my feet, did you? — you replied in the same tone, and he leaned against the cabin wall. It was true, and if it were up to him, he never would.

— Whatever…— he muttered, watching you lie back down, putting your attention back on a comic book Will Solace had lent you, saying it was based on one of his favorite movies, which made you interested in reading it. You thought you and Will weren’t that different, and you liked him but not in ‘that’ way, just as a friend. After all, Will was becoming part of the family with your brother Nico because they seemed to have something slowly brewing.

— How many times have you said I love you?— you asked out of the blue, still not taking your eyes off the comic. Apollo almost choked on his own saliva.

— What’s that about? — he said evasively. He didn’t want to talk about it because if he remembered correctly, all those times had ended badly. He tried to catch your eyes but found the glossy cover of the comic in the way.

You shrugged and turned the page, continuing with the same topic.

— I heard Nico say that to Will once when they thought I was out of our cabin, but I was just in the bathroom.

— Hmmm. And?

— Nothing, just that Nico doesn’t say it often. I’ve only heard him say it to his sister Bianca, his real sister. Also to Hazel, to me, and to Will.

Now Apollo understood but played dumb.

— I don’t know.

You tapped his thigh with your foot.

— Of course you do.

And obviously, he did, but stayed silent, hoping the comic would distract you enough.

— I think they’re falling in love — you stated, laughing at something you read. Apollo could never understand how demigods managed with ADHD; now, it just seemed like a curse.

— Well, I suppose.

His half-hearted responses annoyed you, and you put the comic down with a frown, and he apologized with his eyes.

— Have you fallen in love recently?

That question threw him off. Apollo gently moved your legs aside to sit on the edge of the bed with his heart racing and a pout on his face.

— Where are you going? — you asked, concerned, setting the comic aside and sitting next to him. Apollo smiled sheepishly. He didn’t like lying to you, but whenever you started guiding the conversation that way, he had to find a way to escape.

— I need to do something in olympus, they just told me.

You made a face and nodded. You never got involved in that; after all, he was a god.

In the end, Apollo sat moodily on his throne, watching time pass at Camp Half-Blood. Since his return as the sun god, things had changed in his heart, so he found himself more in that place despite what the gods said, which reminded him of when he met you.

You had recently arrived and caught attention for reaching an age where any demigod would have died, but shortly after, if not the same day, everyone knew you weren’t just any demigod. You were a child of Hades. Of course, the most delighted with this was Nico, who welcomed you and made sure you were never alone.

Things were fresh, so Apollo ended up in your close circle until it became very close. If Apollo was at Camp Half-Blood, you were with him, and it didn’t take long for him to fall in love with you, though you hadn’t realized it yet.

You felt safe growing up by his side; no one would mess with you since you were a child of the big three and a close friend of a god. Some fools judged you for your company, but they were afraid to approach when you were – according to Apollo – an adorable person.

The god watched through the fire as you thrived in camp after his unexpected departure, and to him, you were doing too well, though some things were too good for his liking, and he couldn’t deny it; you were charming in more than one way, which obviously attracted campers like Harley, that son of Hephaestus who sometimes gave you cute things like that pomegranate made of metal leaves. A gift that seemed very familiar when he saw Leo flirting with Calypso.

Leo flirting with Calypso.

Leo flirting.

The god stood up and admired the scene closely. Harley had blushed cheeks while giving you the gift, and you smiled gratefully. No way, he knew the sons of Hephaestus were bold, but he never imagined someone would be so obvious with you due to your lack of understanding of indirect hints. They approached but never that close, and he should have guessed, but also, he wasn’t one to get angry.

You received the gift and admired it closely, but only thanked him briefly, which seemed enough proof of your affection to the son of Hephaestus, something Apollo obviously loathed as well as keeping him awake the rest of the night.

He didn't know why (well he did) but the god ended sitting at the dining pavilion, his nails digging into the table.

— Everything okay? — Your voice snapped him out of his trance, and he smiled. You always seemed to have a radar for when he was near.

— Will fell in love with Nico, and Nico with him. Do you think they both realized it or just one?— His question took you by surprise, and more than making you think twice, it excited you that he finally answered that kind of question since he always seemed to have a repulsion to them.

You sat beside him, and Apollo gave you a sweet look, waiting for your answer.

— Maybe Nico and Will know, but Will could be waiting for Nico to give clear signals about it.

— Maybe Nico is scared.

— Does he think Will isn’t?

You both fell silent. It was clear; it was in the air, you weren’t really talking about your brother and Will.

— What’s the worst thing he could say to Will? — you asked, your hand reaching for Apollo’s to intertwine your fingers. The blonde swallowed and suddenly felt breathless.

— I don’t know, but I can think of something.

Apollo made a face and turned a little more towards you, his cheeks red and his eyes shiny. He was afraid of hurting you, of things not working out as they did with his previous lovers; he could never afford to make you suffer when he already knew the degree of consequence it would have in his life, but beyond his good or bad karma, he cared about you. He loved you enough never to try to have you.

Your patience was reaching its limit, and although the son of Hephaestus was cute, sweet, a good match… your heart belonged to someone since the first moment you saw him.

—Apollo… —your voice called him with a bit of seriousness, a peculiar tone that made the god realize his time for redundancies was over.

— I love you, isn’t that the worst I could say?

Your eyes widened with hope, and you moved a little closer to him, bumping knees.

— From Nico to Will? — you asked, not wanting to humiliate yourself.

Apollo’s blue eyes examined you suspiciously. The responsibility would fall on him; he was never the best at hiding his feelings, but if your happiness depended on it, the first moment he saw your life in danger, he wouldn’t hesitate to disappear from it. For now, a confession was something very innocent.

The sun god turned to you with a bit more evident confidence and didn’t let go of your hand; instead, he kissed it.

— No. From me to you…

[soulprompts]

THE SURPRISING HERO ( A PROMPT LIST! )

hello my beloveds!!! an absolutely incredible nonnie sent in a request for prompts based on the idea of someone becoming a vital part of saving the world through unanticipated events, and i hope i managed to achieve what they wanted in this list! basically i got a tonne of inspiration from comic book movies and the more fantastical vibes of high fantasy franchises, and i was going to make these more amusing, but i think there's something so hard-hitting about the concept of being thrust into greatness and heroism when you feel you aren't ready for it! anyway! enjoy, and as always: DO NOT ADD TO OR EDIT THIS LIST, AND DO NOT CLAIM AS YOUR OWN!

FROM THE UNEXPECTED HERO:

“ i’m not supposed to be here. i’m not like the rest of you; i’m not special, or blessed, or gifted. i’m just… me. “

“ you’ve got to be joking! i can’t save the world! i’m just an ordinary person! “

“ it’s funny. all these years, i’ve wanted so badly to see the world. now… i think i’ve never wanted anything so much as to go back home. “

“ so that’s it, then? i’m just supposed to sacrifice everything to save the world, all because some ancient prophecy says so? “

“ i still can’t quite believe we were doing laundry yesterday. now our biggest chore is traveling across the world to save it. “

“ i miss home. i miss how safe and boring and fine it all was. i never would’ve wanted adventures if i thought they’d be as scary and dangerous as this. “

“ they’re right to be angry, you know. everyone has a purpose here; i’m only joining you all because of some insane twist of fate. “

“ surprised? don’t worry, so was i. i don’t think it’s a normal occurrence for people like me to be part of massive quests like this. “

“ look. i’m not the chosen one, alright? i don’t want any part in any prophecy or ancient dictation. i just want to live an ordinary, safe, boring life. “

“ you think i don’t acknowledge what’s happening?! every mistake i make has costs, and those costs are often the lives of innocent people! “

“ you know, last year my idea of a grand adventure was going up the mountains for a picnic with my friends. funny how fast things change, isn’t it? “

“ i’m not a hero! i don’t know how to fight! heroes are special and unique and trained, and i’m none of those things. “

“ everyone looks at me like i’ve got the answers, but i don’t. i was just in the wrong place at the wrong time. “

“ you ever stop to question the solidity of this prophecy? because if the wording is that vague that it could name me as the savior of the world, then maybe we ought to revise it. “

“ this is stupid! putting the fate of the universe on some million-year-old prophecy! “

“ i’m not what you think i am. i’m not a hero. i’m sorry, i know you want me to be one, but… i’m just not. “

“ so you’re telling me, because i happened to overhear some weird out of context conversation, that the safety of the world relies entirely on me? “

“ don’t you see how daft this whole thing is?! i’ve got to save the world now because i happened to take a wrong turn on my way home! “

“ why can’t i just give you guys what i found, and you can go and rescue the world yourselves? “

“ i want to clarify that i’m not a coward. okay? i’m not running away from this. but i’m not exactly save-the-world material. so thank you for the opportunity, but… i think i’ll stay at home. “

TO THE UNEXPECTED HERO:

“ i get it, you know. it’s a huge responsibility for someone who’s only just realized what’s at stake. “

“ the others think i’m utterly mad for even considering you for this task. but the fact is, you’re the only person i genuinely believe to be capable of fixing this mess. “

“ would you like to know the mark of a true hero? it’s courage. not an absence of fear, not an ignorance of it, but rather, the choice to persevere in spite of it. you’re still here. that makes you one of the bravest people on the planet. “

“ don’t let anyone else tell you what you are and aren’t capable of. everything happens for a reason, and it wasn’t dumb luck that put you in our path. “

“ i don’t believe in prophecies, personally. i think the universe is far too chaotic for them to survive thousands of years. but i do believe that you being here is not a coincidence. “

“ fate only accounts for part of what happens in our lives. the rest of it is all choices. and despite how scared and inexperienced you are… you’ve chosen to stay. that tells me an awful lot about you. “

“ how selfish can you be?! running away from this destiny, this task! the world will fall into darkness if you don’t step up, and here you are, hiding from your fate like a coward! “

“ you need to learn to ignore the opinions of others if you’re going to stand a chance at doing this. this is the cost of being a hero. people will judge, not based on truth, but on a limited perspective. “

“ don’t be stupid. we’re not special or talented either; i was trained from childhood, i can fight men twice my size, but that’s not the mark of a hero. “

“ if you like, i could teach you how to fight? you may find it useful. even if it’s just to comfort yourself against these ridiculous self-doubts. “

“ heroes aren’t always massive muscle types. the inventor of new defense measures against attacks, or someone who discovered a cure for a disease, or perhaps someone clever enough to use new fuel sources in the winter… heroism isn’t always found in warzones, you know. “

“ fine. don’t do it for the fate of the world. do it for your family. your friends. do it for the ones you’ll return to once we settle this for good. save this world, not for the world itself, but for the ones you love, so that they may live on. “

“ you should know some things. most people, if you somehow perform outside of the very specific expectations they have for you, will be very quick and harsh in their judgment. it’s not something one can avoid. but you can learn to rise above those critics. remember. they don’t know the real you. “

" fear is normal. okay? we all fear things. the real killer is when you try to fight that fear. you're no lesser a hero for fearing things. expect it. accept it. embrace it. and once it's with you, work with it to fight even more. "

" you keep saying you're not a hero. tell me. what exactly is it that you believe a hero to be? "

" people make the error of assuming heroes to be golden, flawless, immaculate in both thought and strategy. it's never the case. heroes are the most flawed of all. that's what makes us admire them so. "

[zuko-always-lies]

List of Azula AU/fic ideas

Better parenting Ursa

Azula raises Katara AU (and continued) and more

Azula and Katara get friendly postwar and talk about their brothers.

Mai is significantly older than Azula and Ty Lee AU (Older "sister" Mai)

Jin works at Iroh's teashop but finds out about his past

Zuko tells Azula about the Spirit Water

Ursa and Ozai get along better, and it's not a good thing AU

Imperialist Lu Ten survives the war and tries to regain his throne afterwards

Zuko finds out more about his nation AU

Revolutionary Azula takes over Ba Sing Se AU

Three different AU ideas in one

Favoritism in the royal family is a little different

What if Zuko had a nonbending twin sister (who he doesn't get along with).

Zuko's daughter changes how he sees Azula

Zuko and Ursa try to isolate Azula ("for her own good")

Ozai gets exiled and the Gaang stupidly ally with him

Earth Kingdom ends up with custody of Azula postwar and support her bid for the Fire Nation throne when Zuko starts another war with them.

The Gaang tries to figure out why Zuko joined them.

Dangerous Ladies find Ursa in Book 2

Azula and Toph fake dating

Zuko/"world leaders" try to force Aang to take away Azula's bending and he's very much not OK with it.

Azula is thrown away to the NWT postwar as a trinket and Chief Arnook adopts her.

Comics! Ursa's letter about Zuko being a bastard gets out.

Zuko and Katara lie about what happened during the Agni Kai

An exiled Azula finds Fire Imperialist! Ursa postwar

Aang has to save Azula from being executed by Zuko

Zuko's defection during DoBS goes very badly for Mai

Zuko joins the Gaang at Ba Sing Se, but it ends poorly

Zuko killed Azula during the Agni Kai, and now he has to deal with the consequences.

AU idea where Zuko keeps Azula permanently imprisoned in bad and torturous conditions postwar, and Izumi finds out about when she’s relatively young, and draws exactly the sort of conclusions about her parents that you would expect. Not to mention being terrified that she might be treated the same way if she missteps…

Ozai never declares Zuko and Iroh traitors

Iroh-Azula roleswap au

Zuko asks Azula for help with his firebending

Zuko wants Azula to like him but doesn't get why she doesn't like him (postwar)

Katara has an arranged marriage with Zuko and Azula tries to get into the good graces of her sister in law

"Katara is supposed to have an arranged marriage with Zuko, but she falls in love with Azula instead."

Another take on Zvtara (arranged marriage) and Maizula.

Azula-Katara AU idea (or: Katara runs into an Azula who has changed a lot in some ways and not very much in others)

Zuko is actually Ikem's son

Firelord Azula ends her brother's exile

Azula raises Izumi (it's complicated)

"AU idea: Azula commits suicide out of despair, and just about everyone is convinced that Zuko had her murdered or at the very least “encouraged” her to do it."

Dangerous Ladies get banished/declared traitors and Azula basically gives up. Mai has to step up her place

I have to say, “Zuko has to deal with finding out that Ursa very much isn’t who he believed she was” remains excellent fanfic fodder.

"AU idea: Ursa is more aware of Ozai’s abuse and potential for abuse than in canon, so, right after her exile, she seeks out Iroh and charges him with protecting both of her children."

Firelord Iroh treats Azula in a really screwed up way.

"AU where Azula dies during the latter stages of the war or right after it, and Mai is the only person who ever morns her as a person, not as a politically convenient symbol (Ty Lee runs away from her complex feelings on Azula as much as she can)."

Dark idea

"Since so much of the fandom is convinced that Azula is Zuko’s older sister, I need an AU where this is true and Zuko is just as throne-obsessed as canon and spends all his time trying to usurp his older sister."

"AU where Ozai has a heart attack and dies right after the fire siblings return to the Fire Nation, and Zuko and Azula have to pick up the pieces. Meanwhile, the Gaang are plotting to overthrow them and bring the war to a close once and for all..."

King Kuai adopts Azula as his heir

Things get complicated, darkly (Azula exiled postwar AU)

What if Zuko tried to be a good brother

"I really need an AU where Lu Ten returns and is pissed over Ozai’s usurpation, so he kills Ozai, seizes the throne, and continues the war. Of course, Iroh ends up supporting his actual son in all of this, and the conflict in the Fire Nation ends up boiling down to Zuko and Azula vs. Lu Ten and Iroh as the situation spirals toward civil war, at the same time the 100 years war continues."

"Maizula AU where Mai married Zuko, but he died not long after Izumi was born, and Azula and Mai are secretly carrying out a relationship while raising Izumi and ruling the Fire Nation as her regents."

Azula joins the Gaang with a twist...

"The chaos which would result if Lu Ten showed up alive again in Book 1 and launched a rebellion against Ozai in pursuit of “his” throne."

Ursa opposes Firelord Zuko

Iroh tries to kill Azula during "The Chase"

Mai and Ty Lee on trial for "war crimes"" and Azula has to save them

This is very long list, and people are welcome to steal any ideas they want from it for their own use.

[burninblood]

guys, I sense a lot of tension about this whole buckynat situation XD ... there is even some hate going on on "X" saying they should have stayed broken and stuff... and, listen, I understand, this kind of reunion wasn't what we was hoping for after all these years (10 years?!?!) and of course we had better scenarios in our mind and we were hoping for more good character work (or any characters work at all!), and we want to hear Nat's version (eheh) and these writers are, let's say, uhm, not so good...

BUT

these are american superhero comics for you in 2024. No greatly written for most part, action focused all the time, little or not at all character development, aiming to reach big sales or them get cancelled, flowing with the MCU synergy and stuff. And I tell you as someone who has read comics her whole life (and I had a loooong life, ok XDDD): bad moments in comics come and go, and poor characters run through a lot of shitty writing, and this happens all the time.

Are Lanzing and Kelly good writers? No. HELL NO.

Do I think Cold War was the worst thing written in the media in the maybe last 5 years? YES with a cherry on top! 100% YES.

Is Thunderbolts a good mini series? ... Well, not really. Better than SOL and CW, but still, we're not quite there yet. It was basically random, with a stretched plot that I can't even recall, and really not a team book since it doesn't focused on any of its characters for real. 'Cause you know, I said it before: no character work, just action action and more action.

Is Bucky written by L&K good? No. He isn't. But to be honest he wasn't good in a lot of other comics too, sadly. He has been worse, he has been better. He will improve at some point, that's the cycle.

All this said, am I happy they brought buckynat back? YES. I AM SUPER HAPPY 'cause it opens for possibility!!!

If they gain some more audience as a couple there are more opportunities for them to get more exposure, to be feautured into other comics (in the current cap run written by Straczynski for example?) more and better content, not only together but on their own too! I think them both didn't have a good comic since... 2018??? Nat even earlier probalby, but it's important they somehow stay relevant in the stories 'cause this is how this whole circus works (sad): the characters who sell better get more stories, more comics, better comics from better writers (... hopefully!)! It's bad, but that's the comic market guys.

Idk, it just feels so sad to me that we have waited for so long for buckynat reunion and when it happened finally it left us with just a bittersweet aftertaste... I think this is inevitable 'cause we had so many hopes and we pushed it bigger than life into our heads, and this is reality XD...But realistically speaking, I was never expecting their reunion to be that different from what we got in the end.

It's good to be disappointed, it's right, but let's turn this into a good occasion then, let's try to stay positive and maybe try to exorcise the bad in it by taking a creative angle on the matter: let's write meta about Natasha's pov, let's write fics, let's do edits, fanarts, let's discuss it. But wishing it never happened and dragging them badly...

I know we all feel like they deserved better, and I agree, but let's consider this just THE BEGINNING. It's a starting point and we should keep our fingers crossed for something good to come!

Let's not give up!!!

I'm sorry if this is so long and a whole lot of useless blablabla bhubhubhu, but some of the stuff I'm reading around is starting to be really depressing and a bit too negative considergin the whole situation, and it's a shame 'cause I feel like we should be at least a tiny bit happier here around <3 :D

Let me know what you think of all this mess (or not, lmao) if you want! <3

[welcometogrouchland]

Batman #149 by chip zdarsky is mostly unremarkable, but I'm really fascinated by how it makes a great case for 'good' endings not saving 'bad' stories*. Because there's a lot of interesting concepts in this issue (bruce having to deal with his rapidly aging and decaying clone making him think about his own life, re-establishing a 'nest' so to speak for his family after pushing them away, etc) but bc of the OOC slog that came before it, almost every moment w/ the batfamily comes off as unearned and disingenuous imo.

Like, everything with Damian is the perfect example in this. Because in isolation it's...fine. admittedly it's a missed opportunity to not go deeper into how Damian would feel about a clone of his dad who tried to kill considering Damian's relationships with clones of himself (the heretic rejects and respawn) or with former enemies who wanted him dead but who were manipulated and/or brainwashed (like suren and maya).

Zdarsky doesn't go into any of this but you could maybe excuse it as the issue not being about Damian. However, coupled with the previous bizarre characterizations of Damian in 147 and 148, it ends up not being fine- instead it starts to feel...icky how Damian (who, despite often being drawn and written as white, will never have his connection to the non-white al ghuls forgotten and will always be effected by racism even when not portrayed as a poc) is constantly written as overly violent, uncaring and narrow minded in this run. Coupled w/ trying to recanonize the morrison origin for Damian it's like. OH this is badly written and laden with subtle bigotry, sick**

That's me going into detail on it with Damian but it's applicable to other things in this issue- the way Cass, Steph and Duke have all been ignored or turned into jobbers makes their inclusion in the 'family' here feel hollow instead of satisfying. Bruce proclaiming that Zur was still a part of him and he needs to accept responsibility for his actions (when it means taking in clone son) wrings hollow when just last issue zdarsky was bending over backwards to separate Bruce and Zur bc otherwise the Jason thing would get really awkward. Ends are achieved through means that feel hollow or strange. I'm at my destination but damn why'd the bus have to do all that???

I only really have opinions on this latest arc of zdarskys Batman bc it's the one I've read the closest (bc I'm a hater, masochist and avid follower of even the bad damian storylines) but it's not saying great things.

Bc zdarsky can do one thing good in this book, and it's write Bruce and Tim. And yet this entire story, whether of his own volition or editorial mandate, includes other characters who aren't Bruce and Tim, the fabric starts to unravel in very telling ways.

(p.s, I think pennyworth manor is an interesting idea but I feel like in execution it's just gonna be 'bruce living in a house haunted by the memory of the people he couldn't save' but with a different dead guy this time. Illusion of change and whatnot)

*whether or not the ending is good is up to you ofc, as is your opinion on the proceeding arc! I saw some ppl complain that the ending was too "WFA" for them, which I get even if I dont think it'll literally be the same premise. If anything it's probably a lead into the new tec run. Likewise many ppl who aren't in the weeds of Damian and Jason characterization liked the previous arc! But I have my opinions and rest my case before the bench

**disclaimer, I'm white and portrayals of bigotry in comics are complicated and subjective, but I am basing my point here off what other poc comic fans on socmed have been saying about 149. Also the "sick" is sarcasm incase that wasn't obvious

[kerubimcrepin]

Wakfu OVA - Book 2, Ush [PART 6]

This goes very hard as a beginning for the first, liveblog I'm writing back home after my trip. (It's still running on scheduled posts because I realized I really like scheduling posts)

also: asset reusage for them falling spotted.

I need them to be in this amount of pain always.

FDGSDFGSDZFGJFDLJGVDFLKJGVSHFVDSFHGSJGUSFHVJDFGNSJKRHGDSRHBGFFGJHFGNFGHFGJTDJXGJ

Thank you OVA for this meal.

He's so fucking stupid and pathetic and I'm here giggling and kicking my feet because i love him so much because of these qualities.

Go girl give us nothing...

As was proven by season 4 of Wakfu, and the Remington comic: while Ush and Joris do hate each other, they can agree on helping people. Which is why Joris is hoping that maybe Ush will switch sides.

On a more important note than pointing out random character interactions: FANGS.

Joris in Remington comics: Ush how about you kill yourself for the good of Bonta. not like you don't have lives to spare. Ush here: You want me to be your third pet so badly that it makes you look stupid.

I need to know everything about their weird fucking rivalry. Like Ush tries to go for a multitude of low blows here.

Here's my translation of this interaction from Ush-speak: The person who takes care of Ush when he dies gets paid for it, while Cringoris has been doing this shit for free for two men who are far more stupid and entitled. AND somehow it makes Cringeoris feel entitled to Ush's cooperation or respect. While he's literally some guy he isn't even related to. (He's hardly related to Kerubim and Atcham even! Why the hell should they affect his relationship with the weird blue guy?? They're far younger than him, have a different family, maybe a different mother and different upbringing... The two of them, and all the other Ecaflip Demigods, are only related to him because of Some Pink Guy whom Ush hates and wants to get rid of. They are brothers only on a biological level. And yet to Joris, who is literally adopted, this means Something. Is he insane? Is he stupid?)

The CEO of liking people who try to kill him has spoken on his controversial yet predictable opinion on the whole "there are 13847234 "siblings" in our "family tree" because our "father" cannot stop having sex with mortal women. And we keep killing each other, not without our father's goading. What does this mean for our relationships" thing.

Yes, it's from a game that was decanonized, but:

Never forget what Ecaflip did to his demigod Yakusha and that demigod's mother.

Or everything he did to Kerubim and Atcham.

I think that Ush may have, like, very normal and understandable reasons to detest Ecaflip — and not being into the idea of getting buddy-buddy with Kerubim and Atcham just because of their shared relation to the god (whom he hates) is actually pretty rational.

A semi-canonical source (devlog for the de-canonised game Wakfu Raiders) points out that while Yakusha and Ush may not share a mother — unlike Atcham and Kerubim — they are united in being abandoned by their father.

While Kerubim and Atcham also suffered, except from, uh... too much presence of Ecaflip in their lives, I can't help but think that from Ush's point of view, they're the lucky ones.

He loves to bully his privileged loser little brothers who actually had a (horrible fuckawful) father figure while growing up.

(That, and his belief that Kerubim is stupid,,, isn't entirely unfounded.)

[randomthefox]

Amy's always been a rude bitch. In Sonic Heroes she calls Eggman a mustached monkey. Yeah Amy smother someone with kindness when they need it but she isn't a saint. I don't know why everyone is suddenly deciding that she's supposed to be a perfect role model.

It's definitely overcompensating due to the utterly abysmal way that Amy is being written in the IDW comics. And due to the misconceptions that people have about the way she was written in Frontiers, because the people who act like the characters are written badly in Frontiers obviously have never actually played it and are just going off of second hand recounts that are incorrect. And also completely ignoring Dream Team and Murder of Sonic the Hedgehog and Superstars and all the other games Amy has been in recently (seriously I am so fucking sick of these threads from Amy fans who say some variation of "the way modern Amy is written" like bitch it's literally JUST the spin offs she's still the same hoe she ever was in the video games.)

They feel like they have to cheerlead because there IS a concerted movement of people who don't like Amy (including Ian Flynn) and they want to change everything about her character and turn her into a completely different character. To "fix" her. So folks feel the need to champion the qualities of Amy as she currently is (or, in their incorrect assumption that she's written badly in Frontiers, how she "used to be" but we're going to ignore everybody who thinks Frontiers is bad for the rest of this post because we all know they're objectively wrong because they haven't played it.) They want to say "NO, AMY DOESN'T NEED TO BE CHANGED TO BE A BETTER CHARACTER, SHE'S ALREADY A GREAT CHARACTER LOOK AT ALL THE THINGS THAT ARE GREAT ABOUT HER!"

The problem is they're acting like they're on the political campaign trail and Amy is running for fucking president or something lol. They're treating Amy like she's a real person who we need to glaze up. They think if they acknowledge that Amy has flaws and shortcomings, it'll undermine the "Amy is fine just the way she is and doesn't need to be 'fixed'" argument, because if they say "Amy is kind of stupid and more than a little crazy" then the Amy haters aka Ian Flynn will jump on that and say "See? Amy needs to be improved!" As if taking a fictional character and sandpapering away all of their flaws to turn them into a boring fucking mary sue has ever been an "improvement."

It's insecurity. Amy fans are insecure. Because they feel the character they love is under attack and at risk of being turned into something else, turned into a different character instead of the character that they currently love very much. They see the way Amy is being BUTCHERED in the IDW comics, and see the way people who like the IDW comics are celebrating that and how the guy writing the IDW comics is stroking himself off like he's so great for "fixing" Sonic Teams dumb pink problem, and they get scared. Then they see that that same comic book writer is credited as writing the latest AAA Sonic game, and they get told by LIARS that he's writing Amy in that game the way he writes her in the comic, and they think their worst fears have come to pass and now they need to champion the values and qualities of Amy even harder to try and preserve her in the face of this perceived wave of ruination spearheaded by people who look down on Amy as a broken character who needs to be completely changed into something else to be fixed.

And it results in overcompensating Twitter threads that get really fucking annoying because Amy is not at risk of going anywhere. Sonic Team still knows THEIR character perfectly well. The shit ass IDW comics are NOT canon and NEVER will be and they sure as fuck aren't the defining or guiding north star of how the franchise is going to be handled or how the characters are going to be written in the actual official products. Sonic Team HAVE NOT and AREN'T GOING TO change Amy to make her more like she is in IDW or was in Sonic Boom or shit like that. They still know how to write their own character and have been seeing to her being written appropriately as she always has been, and as long as these people are still alive and at Sonic Team that isn't going to change.

Amy fans need to chill the fuck out and have faith in Sonic Team and stop worrying about them suddenly changing directions just because retards on Twitter and Ian Flynn think Amy is a bad character who needs to be changed. Just throw the IDW comics in the same trash can of irrelevance that we've collectively put Sonic Prime into and calm down. Also play Sonic Frontiers. And while we're at it stop acting like the 2010s Sonic games were bad.

[honourablejester]

Some of my favourite ghoul NPCs in Fallout:

My sister and I are replaying New Vegas lately, and we recently did the Come Fly With Me sidequest again, and since I’m talking about Fallout recently and this quest reminded me how much I fucking love Jason Bright and his merry band of lunatics, I figured I’d talk about some of my favourite ghoul characters in the games I’ve played (3, 4, New Vegas). Specifically non-companion characters, no offense to Raoul. I just like some of the ghouls you just run into.

First off, since we’ve already mentioned him, Jason Bright is such a nutjob, and he is the focal point for such a fantastic, batshit quest that you have to adore him. Yes, he’s a cult leader, and yes, he’s leading the ghouls under him possibly to their deaths based on ‘visions’, and yes, he is using Chris’ delusions to help get them there (and also sends us, the player, into a very annoying set of negotiations), but. How can you not adore the idea of a non-feral glowing one cult leader who is leading his flock into space, and manages to find actual functioning rocket ships to manage it? (Well, functional if you help out and don’t sabotage them, anyway). Also, given that Atom may genuinely be an actual god in this universe, I’m not going to fully rule out the visions, especially since he had a sane enough grasp of them to realise that he was seeing somewhere so irradiated that Chris wouldn’t have survived it. But just for the quest alone, just for the sight of those rocket ships taking off and presumably baffling and/or scaring the pants off half the Mojave, I just love this guy.

Second, one of the best characters in any of the games full stop, and also in one of the best and most batshit sidequests full stop, we have Desmond Lockhart from Fallout 3: Point Lookout. Because he’s a ghoulified James Bond fighting a maniacal brain in a jar supervillain in a rivalry that has been going on since the Great War. That’s just. You cannot beat that. He’s foulmouthed and bitchy and ungrateful and an arse, and he’s fantastic. I love that the mansion you find him in is his enemy’s ancestral home, the cheek on this bitchy ghoul man. I love him. He’s just spectacular.

Third, to round out our ‘best batshit sidequests focused around ghouls’, we have Kent Connolly from Fallout 4, because who wants to play a hammy 40s-style pulpy comic book hero in post-apocalyptia today? You? Excellent! The Silver Shroud is such a fun and fantastic questline, and I also just deeply adore and wish to protect Kent. He’s so sweet and sad and gently pathetic, and he’s not remotely able for the wasteland, and he’s trying to help. A pre-war ghoul clinging to the old radio shows he used to love when the world was less overtly hellish to try and help him cope, and not doing so well, and wanting to bring that hope to other people by resurrecting an old-world hero. He’s very sad and badly adapted, but he’s very sweet, and we always wait to take his quest until we have the rifle skill levelled enough to get him out of his little situation at the end of the quest alive. Because Kent is not allowed to die.

Fourth, on a continued theme of ghouls too nice for this world and who I will cheerfully murder people to protect, we have Gob from Fallout 3. Because everybody’s fucking mean to him, including the game itself, and somebody needs to fix it. GIVE ME A QUEST TO FREE THIS POOR MAN, YOU STUPID GAME. I mean, yes, we always murder Moriarty to help him anyway, which does solve the problem, but I HATE the fact that the game lets you tell his mother he’s a slave, and then doesn’t let you fix it. You just crushed her hopes for nothing, and even if you do get him free anyway later, with no quest to do so, you can’t tell her that. I want to stab FO3 so much for that. Why do you put a poor abused, incredibly nice slave man in front of me and then not let me free him? THERE SHOULD BE A GOB QUEST. If only so I don’t accidently crush poor Carol’s spirits with no hope of then telling her better news later. Because I am murdering Moriarty for the man, I’m not going to leave him enslaved. I don’t do game mods, but if there is one mod I want for 3, it’s that one. Let me free him officially and then tell Carol about it.

Ahem. Anyway. Sorry about that. Moving on (never, I will never move on, I will hold a grudge on this forever, but howandever).

Fifth, and still on the theme of the saddest goddamn ghouls in the wasteland, there is Arlen Glass from Fallout 4. Because he broke my fucking heart and I will never get over it. Giving him that tape from his family had me sobbing. A sweet gentle toymaker and family man who was never home because of work, who talked to his wife and daughter primarily over the phone, and who was still at work when the bombs dropped and never made it home to see them at the end. Who ghoulified, and was left with that grief and regret for the next 200 years. He ripped my heart fully out of my chest. Letting him hear his family’s voices again by retrieving that holotape was one of the most impactful things I’ve ever done in these games, and it was the one moment where I desperately wanted to refuse the quest reward. We fortified the Slog to hell and back to make sure Arlen was safe. Again, would die and kill for this man without a thought.

And then, in slightly less obsessive fashion, some honourable mentions:

Captain Zao, Fallout 4. Because there is something so quietly sad about his whole situation, trapped in a tiny vessel while his crew goes feral around him, keeping watch over the ruined country he helped destroy, wanting only to go home, and relying on enemies with extremely justified grudges to help him. No one won the Great War, and Zao is proof of it. We help him, every time. All he wants is to go home, after spending more than 200 years trapped wondering how much of it is left for him to find when he gets there. What the fuck would shooting him do, in the face of that? No one won the war. Let’s just let those it destroyed find what peace they can.

The Vault Tec Representative, Fallout 4. Because I just feel so sorry for the man. You never even learn his name. He was left out to die by his company, and he knows it, and after 200 years ghoulifying and rotting, out you pop, fresh as a fucking daisy from the vault he put you in, just to rub it fucking home. It’s not the Sole Survivor’s fault, but you definitely can’t blame him for being sore.

And finally, Daisy, from Fallout 4. I want to mention her because I do love her, that of all the quests you pick up from people in Goodneighbour, hers is to try and clear out the Library, because she remembers it from when she was a girl and she’d like to see it at least not overrun, if not quite restored. I love a nice bookworm, tough enough to survive Goodneighbour, and to put her caps into trying to bring a little civilisation back to the wasteland.

But Daisy also highlights a bit … There aren’t too many important female ghouls? Ones with cool quests around them. There are quite a few scattered around the various games, sure, but not too many you can really interact with like the boys above. There are a few memorable ladies around, like Keely from New Vegas, the tough as nails scientist who survives Vault 22 in New Vegas, Carol and her partner in Fallout 3, and then Beatrix Russell, also in Vegas, who has a tiny but extremely memorable part in the ‘find hookers for the casino in Freeside’ quest, just for being a (potential) ghoul cowboy dominatrix who likes to have a good time and believes that ‘good times’ are a full-contact sport. Like. She’s pretty damn memorable.

But there is, at least in the three games I’ve played, a bit of a dearth of full-questline-attached, batshit-shenanigans-ahead lady ghouls, and that’s another thing I could wish changed. Heh.

But yeah. Ghouls are some of the best characters in these games, and they definitely have some of the best quests attached to them too. And a lot of them will break your heart as well. Heh.

I do love this universe. A lot.

[spindle-girl]

what are the bad undersiders opinions you’re seeing outside of tumblr? curious

Just as a precursor, this isn't any specific person or section of the fandom. You'll find these opinions anywhere and they've been around for years and I probably shouldn't get as annoyed as I do at it but whatever. It's (I'm paraphrasing btw) stuff like:

"Taylor would have been a hero without (evil/bitch/stupid) Lisa." Ignores the very legitimate issues Taylor has with authority and ignores Brian, who was the actual main reason Taylor joined the Undersiders. Lisa did lie in a few different ways to mislead Taylor, but nothing major enough to trick her into being a villain.

"Aisha could have been a hero if she knew what the Undersiders were REALLY like." Aisha would get annoyed that her brother can be cool and only does it when he's not around her. Also, she knows, but people ignore that or else they would be forced to realize Aisha has an actual character instead of a manic pixie girl they can ship with whatever hero of the week they want.

"Brian is stupid for joining the Undersiders and not the Wards." I've talked about this before, but no he fucking isn't. Choosing to not become more like his dad is actually a good thing. Also pretends that cps is both a) not incompetent at best malicious at worst, and b) ignores how they're considering the Laborn's mom again as an alternative to Brian to house Aisha after their dad failed so badly.

I'm beginning to realize the main theme with these is that people don't want to think about how the Undersiders have legitimate reasons to not like authority.

"Alec is evil for not turning himself in after escaping." The heroes have only ever made his life worse and I'm sure the cops didn't make it any easier in the time between running away and joining the Undersiders. Also, blaming people for shit they did under mind control is a dick move. Despite Worm having lots of comic book fans they don't seem to remember every annoying mind control arc or the Purple Man.

"Taylor (and the other Undersiders) would have been happy and fine if they joined the Wards." Lol, lmao. Ignoring Sophia for Taylor and Coil for Lisa, I don't think any of the Wards had their lives improved by joining anyway. Even if, for some magical reason, the PRT helped them with their parents they'd have issues with the organization itself. Not to mention their risk of dying gets upped tenfold by joining. Piggot is more than happy to use her child soldiers until they break.

"Lily got manipulated into leaving a good career with the heroes." Foil mention?!? I know, but I can't forget that half the time this is brought up, they always mention her career. Fucking bleak. Also, Parien isn't even her full reason for leaving. She left before confirming her relationship with Parien, because what she really got tired of was the heroes not being heroes. It's why she investigated Armsmaster, why she listened and respected Parien's choice to get help from Skitter. There was more I think, but yeah.

Nothing really to say about Rachel or Sabah. People don't talk about them that much. Oh, wait

"Rachel would have gotten help if she got captured and been a Ward." That wog was specifically if Rachel got captured early on, is only with Boston, PRT therapy actually helping (lol), and she still doesn't have anyone close to her tying her down to Boston so she could end up like Foil.

There's more. I could write pages on Lisa alone, but it's been a few days and I'm not currently in the mood to be annoyed rn.

[piningpercussionist]

Howdy, Pine! Can we get three headcanons for all your favorite Scott Pilgrim characters? :-)

Oh absolutely!!!! Lemme think for a minute...

((FUTURE FUTURE ME: I LITERALLY JUST PROCESSED YOU SAID THREE HEADCANONS IM SO SORRY--- YOU WILL UNDERSTAND 😭))

Okay I had a whole thing here, but we're gonna try this again but slightly more Hinged-- forcing myself to format so things don't get out of hand again. I will HAPPILY elaborate, though!!

((Whoop this is future me. This post is going to be so long if I dont do this, so I'm going to put this all under the cut! I'll try to remember to come back up here with the characters I talk about- alternative, should I not do that, maybe check the tags! I'll try to only tag the people I'm directly talking about))

KIM PINE

sexuality: very likely canonically Bi, I am a very big fan of her being a comp. het. lesbian, though (I get this both from my read of the comics/her character and just me Injecting myself into my favorite characters ✌️)

pronouns: she/her usually, but I think she'd be very open and vibe with they/them (me injecting myself again, but also she's just chill like that. I think she prefers if strangers use they/them for her, and her friends or partners use she/her. I'm undecided if she prefers her partners call her their girlfriend or their partner, though.)

Characters I think she has feelings for: RAMONA FLOWERS, Lisa Miller, (MAYBE Scott Pilgrim, still)

Elaboration on that:

I honestly think I can just. Point at some comic panels for Ramona. And the goat thing again. They make me Unhinged that's how canon that is.

Lisa!!! My beloved!!! I think she had a tiny crush on her in high school and had no idea that it was a crush until way later in life- maybe shortly after seeing her again, actually. But like. She's so obviously smiley and happy when she's around, I really can't help but read it that way! She, at the very least, gets an extreme mood boost in her presence, so she really likes having her around.

Scott Pilgrim.... *scrubbing at my face* okay. Okay. So, I have a couple different reads on her feelings for Scott, they're kind of complicated for me to dismantle. Especially since I haven't started my reread of book 6 (I've been giving my thumbs a break, which I am currently prolonging but I have been DYING for someone to ask me to talk about this series.) I'm going to go with my more canon read and leave it at that I think, because it's already becoming this text wall.

Scott was really important to her, I think. She's this aloof, sullen, bitchy girl and she knows it- and then this dorky idiot walks into her life and they really hit it off! They date, they have really sweet, private moments together- it's everything to her. It's someone loving her in spite of the hard shell she initially puts out, and managing to reach her soft, easily bruised heart in ways no one had before. But then he left so abruptly, and that heart was crushed under the weight of her own ribcage. I think she carried that hurt with her every day from that point- I don't imagine her having a particularly roaring love life after that. I think she kept that hurt bottled, and it made any relationships she DID attempt fall apart. It's a wound she's been nursing for way, way too long, and I think she knows that- that's why she wants so badly to forget about it. But then she goes to Toronto and runs into Scott again at the lowest point in his life, and she can't get herself to step away, because this is the only person who ever claimed to love her in a way she felt. I think her decision to stay was sort of... detrimental to her moving on. If she'd detatched herself and stepped back, maybe she could have moved on eventually- she could have worked on herself, or maybe lucked out and found someone who could get through those walls without a sledgehammer, and she would have been better for it. But that's not what happens. She stayed, and I think the longer she stayed the harder it became to keep herself completely shielding from him, because he's still that same goofy guy at his core- he's just a bit worse than she remembered him being. But damn near everything he does throughout the comics just continues to crush her until she HAS to leave- he can apologize, and she can accept it for the version of him she loved, but he's not enough to convince her to stay anymore. I'm going to cut my canon analysis there until I reread their next scene, rather than just continuing incase my thoughts have slightly changed, but like... man... they hurt me in a very unique way. If it was anyone other than Scott, it'd be tragic. (Maybe it still is, maybe that's the Kim Bitterness talking)

For a brief touch on my less canon take, with Kim being a lesbian: I think Scott would have been better placed in her life as a best friend than a partner, but when you're young, and honestly even when you're not all that young, emotional distinction like that can be so, so confusing. So all of the hurt remains very genuine, because she does love him, just not the way she thought she did.

((Because I do love the trans!fem Scott HC as well, I will say. I feel like it would be really, really funny for Kim to realize she's into women and be like "wow sure dodged round two of the Scott Pilgrim bullet" and then one day Scott shows up having started her transition and is like "Oh hey Kimmy!! I'm a lesbian AND a girl, like you now!!!" And Kim just. Crushes her drink or something in her hand like "oh no... oh no she's attractive again... FUCK FUCK FUCK." Obviously a lot more nuanced than that, though. I should probably clarify that I started answering this ask almost IMMEDIATELY after waking up and also BEFORE I've taken more pain meds. If this post has been or starts to become very scattered again, that's why lol.))

Bonus consideration: Hollie. I can dig her having a crush on Hollie, but I feel like it faded a little living with her, and then shattered entirely after the Jason Kim situation. Even an overwhelming attraction to women ain't savin that one, chief. That's just too severe a betrayal.

The Knives Situation: Oh Boy. So in the original answer for this I had a whole thing done up, lemme try to condense it. Basically, I think Kim woke up the next morning HORRIFIED by what she'd done. Like, dry heaving in the bathroom horrified. And this likely really hurt Knives's feelings, should she see! Which Kim would feel horrible about. I'm undecided on if she just runs from the situation before Knives can wake up, or if they have a sort of agrument/one-sided rant on Kim's part afterward where she just really tries to hammer home for Knives how not okay it was for them to do that- for HER to do that, given their ages and inherent power imbalance. In the event that this discussion happens, Knives absorbed none of it, and probably leaves that conversation a little wounded. I think it would proceed to play back in her mind when she and Stephen are talking at one of Julie's parties later on, though, and she'd probably approach Kim after that to thank her for being a reasonable adult about that, unlike how some of her friends had been. Once that understanding is reached, I think they could be good friends, although Kim probably teases her for how she started to dress like her after they first met.

Silly little things: If anyone's familiar with Night in the Woods, do you know the part where Mae's like "that's not drums... that's a computer..."? I feel like that has Kim energy. To me.

Also I think Kim sucks at Rockband- I know that releases like, way afterward or something so far as comic timeline goes, but bare with me, okay? It's my silly little headcanons! Anyway, she'd suck really, really bad on the drums, since so far as I can recall, they don't REALLY correspond with the music. If her friends force her to play, she demands either the mic or the bass, because "fuck you Scott, you try playing their stupid fucking drums." He proceeds to play flawlessly, much to her chagrin. She fairs better on the bass, but only a bit better than the drums, since her fingers aren't quite used to the movements.

Kim didn't think she liked cats for a while, mostly because she was only ever around them fleetingly, and generally in the homes of people who should have been cleaning their litter boxes more regularly. After hanging around Ramona's house more, though, she discovers she really love them! She feels a sort of kinship watching how they actually behave, and I think Gideon ends up warming to Kim very quickly, which probably helps with the very quick turnaround on her opinion. I think it'd be funny if sometimes, when Kim's over, Scott will try to beckon Gideon over to him for cuddles or affection, and the cat will just. Stare at him entirely unimpressed before jumping up into Kim's lap with exaggerated purring and chin rubbing before curling up for a "nap." Kim was in awe the first time this happened, and Ramona finds it ceaselessly amusing every time it happens. ((Funny additonal scenario: once after this happened Scott was whining to Ramona, who was coming to join them on the couch, looking generally very sad/cute/pathetic, and overcome with a sort of playful evil, Ramona proceeded to sit by and cuddle up to Kim as well. Kim immediately froze up and went bright red and wide eyed, Scott's jaw probably dropped before he dove into a theatrical, exaggerated spewl about the betrayal of it all, and Ramona just got to blissfully enjoy Kim cuddles while giggling at both of their reactions and petting Gideon.))

Conversely, I don't know how Kim feels about dogs. Like, I don't think she hates them or anything like that, but maybe they fill her with a sense of pity, for their associations with unwavering loyalty. Something about that specifically runs too close to things she considers about herself, at times, maybe. Idk, just kinda spit ballin here.

I think she does like rats! And mice. Idk. They're cute little guys and I like them, let me have this--

Oh man... just Kim's section is so long. And I have other characters to get to,,, buckle up I guess--- I mean, I did start with My Girl, so maybe the others will be shorter?

((This is future future me again... this is where I actually went back and processed the ask properly :') I have no words to describe my current emotional state beyond that I am trying really hard not to burst into a little fit of laughter at myself and wake my roommate--))

Three! Three headcanons!! I can do this (restraintrestraintrestraint)

Okay! Let's try being Normal About Media- and just as a note, they aren't really in any particular order, beyond Kim being the first because she IS legitimately my favorite, I think. Idk she's very Me.

Ramona Flowers

1. She doesn't really do labels, for things like her idenity; she does think pride flags are pretty, though. Scott got her a bi flag once and she decided to keep it and hang it in her room for this exact reason, though she did explain to him that she doesn't really consider herself anything but herself- Ramona Flowers. He's very understanding about that, although a little confused in the typical Scott manner! They eventually come around to just considering it being his flag, when he comes to terms with himself (yeah, spoilers, I HC him as bi)

2. Her hair actually does have magic properties to it that prevent it from getting absolutely butchered by all the bleaching she does- she doesn't know how or why, though. Maybe it's less magic and more to do with the supplies themselves? Unlike Scott, she's not as meticulous when it comes to reading the status effect labels on things she uses or consumes.

3. Of her former partners, I think she does have genuine lingering feelings for Roxie. So far as the comics/movie go, she simply repressed the hell out of them and plays the Deny Deny Deny! game, but so far as the show goes, I think she's come to terms with the fact that she still loves her, but horrifically fumbled her- she doesn't want to hurt Roxie like that again, so she's unlikely to ever try things again between them, I think. Not unless Roxie was the initiator, and even then, it'd take some coaxing.

Bonus 4. She absolutely has feelings for Kim. I feel like maybe further into their relationship she'd 100% ask Scott like "hey... you know your really hot friend Kim?" and proceed to discuss with him if being in a polyamorous relationship is something he could get behind. Maybe it'd happen after a period of time with Kim living with them too, or something.

Roxie Richter

1. She gets ALL the girls- all of them. She's an unholy TERROR for men where she lives, because she is notorious for giving women the night of their lives and making them never look back so far as dating men goes. Now, I don't think she deliberately breaks up people or goes after "straight" girls or anything, but it's probably something that's happened on accident before, so she's A Menace. I will say that she might deliberately swoop in and woo a girl she knows is taken if it's extremely clear that their relationship is just Not Right- like if she's seeing clear signs of abuse, or something. She isn't intending to get with these girls when she does this, but she is fully intending to get them out of shitty situations. She's even turned girls down after their (ex) boyfriends have stormed off in a huff, simply out of respect for them- she'll try to give them advice, and if they're adamant in trying New Venues, she might play matchmaker where she can, but she isn't really comfortable sleeping with them after doing stuff like that- to her, it feels gross, maybe even exploitative.

2. I actually don't know if this is meant to be canon or not, because it's noted alongside some of her sketches, but she's german/japanese in my eyes- but raised in the states. She knows English the best, and some German, but she doesn't really know much Japanese, much to her own agitation- she just struggles with it a lot, for whatever reason. She can kind of read some things, but if she tries to speak it she runs the risk of butchering the words. I personally further HC her dad as German and her mom as Japanese- dad by process of elimination, mom based loosely on how I read some of her and Ramona's conversations in the comics.

3. She is in fact whistling the tune in the show intending it to be from the Robin Hood movie- in fact, I think I'm going to HC it as one of her favorite animated films from childhood. (... do I HC her as a furry now?)

Lisa Miller

1. Disaster Bi! She's a bit of a Menace and she knows it; she likes to rile people up, but she can't really take what she dishes out. Like, if she'd done the kind of seductive teasing she does to Scott to Kim and received any sort of flirting back, her brain would shut down and she'd need to reboot. She doesn't know how to handle when someone else takes the reigns, which is why it was so easy and fun to play with Scott- he was too stunned/shy to play back, which she enjoys. Not to imply she doesn't enjoy having her brain melted a little, of course.

2. I think she makes it big after she heads to America! Or at least, bigger than she was. She sends her friends back in Toronto signed copies of movie posters and CDs and things when she can- she doesn't expect them to keep them, although she loves it when they do, but at least in Scott's case it's sort of a "incase of emergency, please sell" sort of situation. He does not, obviously. (Ramona probably does, though, both from admittedly petty lingering jealousy and because they just don't have room for all of it; Scott rarely seems to notice anyhow, and the money usually goes towards rent or random gifts for him anyhow)

3. I forget if everyone's sudden absence is noticed when they Poof briefly during the finalt episode of the show, but if it is I feel like Lisa starts to talk to Kyle, since he's in front of her, like "hey, what exactly happened there-" before looking out over everyone else who reappeared in their seats and noticing Scott is actually up there with them. She spends the rest of that night chatting up him and the league, and maybe even scores an in with Matthew for getting a foothold in her acting career!

Matthew Patel

1 . He absolutely has a dedicated cult following for his theatrical works, and it's warranted! He's genuinely good at what he does, and his passion is clear as day; any production is lucky to have him, and he knows it, which can kind of lead to butting heads behind the scenes. I feel like he might come across to his fellow performers as full of himself, especially given his proficiency with one man performances, but he truly is just deeply, deeply passionate about his work, and he wants to feel that passion with anyone he works with, too. He NEEDS his energy matched to feel like it's going to be a grand performance, and he simply doesn't notice how off-putting this can be for his coworkers as a result.

2. The demon hipster chicks have always been the visual age they are now, even when Matthew was a kid; he viewed them as older sisters growing up, and they're very protective of him perhaps as a result. At his current age, they're his best friends and personal body guards- they'll descend like rabid dogs on anyone that steps out of line around him, if he doesn't call them off. Sometimes it's a bit much for him, but they're usually pretty good about understanding when they do and don't need to interfere on his behalf.

3. Ya know I'm not sure if it's a HC I've seen at all but I could really vibe with trans!masc Matthew. I would love that for him, truly.

Scott Pilgrim

1. Look... I really love any trans!Scott headcanons. Like, any direction, I've said before; I genuinely have such a problem figuring out which version I enjoy best: he's trans!masc and has been all along, or trans!fem and Ramona eventually helps to crack that egg. But also, while I'm saying this, he is. So stupid. Not like maliciously stupid in this sense, absolutely not, but I feel like he's the kind of person to like. Run into someone from his past post their transition, with THEM coming up to HIM to be like "oh long time no see, Pilgrim," and then he would say something to the affect of "oh, you have the same last name as (DN)!!! Are you related? Kim, Kim!! Do you know if (DN) had any siblings?" while Kim and the other person just stare at him deadpan for a bit before bursting into laughter at his expense. He would then proceed to be really confused and just not get it, either until they explain it to him or like, he'd just suddenly sit up in a cold sweat later that night realizing what he did like "oh my GOD that WAS them, I said their dead name at them like seven times!! I am Going To Hell!!!" (And Ramona would just kind of blindly, lightly slap around in his general direction, like "honey you're not going to hell for basically affirming the effectiveness of their transition, go the fuck to sleep. They would've said something if it was a problem." Idk, that's just how he feels to me.)

2. When he has his own money for things, and space living with Ramona, he spends it on video games or video game related merch- it's probably a lot of patches and t-shirts, but I can see him starting to collect plushies, too! Like some of the really old kinda silly looking Sonic plushies, for example? If I had my Knuckles one on hand I'd use him as an example, but I think he's in storage somewhere :(

3. Gets into really heated arguments about video game mechanics and stat stuff where applicable; like, Ramona has to drag him away or else he will actively start fighting people kind of heated. He can hold chill conversations, but if he feels like he's being talked down to about a game that he's REALLY into, like Sonic Adventure (he has the director's cut!)

Wallace Wells

1. MENACE TO SOCIETY. He's comparable to Roxie in this way except he is so much worse (I say this affectionately <3) because he does just straight up, in canon, do things like steal Stacey's boyfriends! And that's his friend that he's doing that to! So I cannot IMAGINE what mischief he gets up to when he goes out drinking. He's probably ruined so many lives, naybe even marriages. What am I saying, maybe? Definitely. And he feels no remorse about this! In his eyes either your man was already gay or you needed to treat him better, sweetie; he HAS been rejected before, so clearly his charms can't ruin what ain't already broken.

2. While he does have feeling for Scott, which is basically canon I don't even want to hear it, he KNOWS better. Like, he'd been living with Scott for a while, so he knows if they were legitimately dating he probably would be even more sick of him than he already is. When they were still living together, though, there were times where he couldn't help but wonder if it would really be all that bad... right before Scott comes in and does or says something that just highlights for Wallace that he's making the Sane choice. Besides, Wallace is (and i hate using these terms but I straight up don't know what other words I could possibly use) a sugar baby; he can't keep up being both a sugar baby and Scott's effective sugar daddy (HATEHATEHATE THAT WORD) while ALSO paying rent. It doesn't really work out that well, especially with him having, at the time, such a shitty apartment to begin with.

3. I feel like Wallace really enjoys his nightlife and getting to sleep around, so I'm unsure if this is something still in play while he's with Mobile, or if he respects Mobile enough to do away with that entirely. Like, different situations work for different relationships, so if Mobile is fine with it then maybe it's something that continues! But taking into account the sparks from the show, maybe he'd actually be really fine being exclusive with Mobile. Especially given how well their future selves seem to be doing. Idk! Basically the sum of this one is just that, if Wallace is exclusive with Mobile, he misses be a bit of a whore, but he's very happy where, and with who he is, now.

Envy Adams

1. She gives me vibes.. queer vibes... in some sort of direction.... idk if I'm fully behind her also being a comp. het lesbian or just labeling her a disaster bi, but I also get a vague sense of gender fuckery. It's entirely her name thing, probably, but I can see Envy being genderqueer.

2. She probably hunted Lynette down after that show- an arm was likely Not Enough to quite satisfy that rage. Especially since she didn't get the satisfaction of beating Todd more thoroughly herself, since Scott stepped in. Conversely, for the show canon, Wallace has a target on his back for the rest of her life, as far as she's concerned, even in a world where her feelings for Todd were just misunderstood- she considered him her best friend, and you don't get away with hurting her friends like that unless you're her.

3. I think I'd like to HC that some part of her regrets booting Scott from the band the way she did back in college? Maybe not immediately, or even soon, but I feel like sometimes she would think about him and their relationship as a whole and just feel bad, Idk. Like, she doesn't want to get back with him at all, but I could maybe see her offering to promote Shatterband (or Sex Bob-Omb, in the show,) or even play with him as a genuine apology instead of a coy trap somewhere down the line.

Knives Chau

1. Look... look I know I'm about to sound like a broken record... comp. het. lesbian or bi. HEAR ME OUT: her puppy dog love for Scott is really just that- something cute and innocent, but very intense, especially once he cuts her off in that honestly really brutal manner. Teenage heartbreak is messy- even if you feel like it was real, true love you had, you can often realize later in life that what you felt was just admiration, or something else innocuous like that. I think she reaffirms it to herself as a deep and true love because of how intense the pain of that breakup was, paired with everything that comes after, and I think the show really highlights that for me? Because in the show, with Scott out of the picture entirely, she's just a lot less intense about it. I think after playing music and hanging around his friends, she realizes she didn't really love him all that much, just thought he was a cool older guy and liked that he took an interest in her, even if she recognizes how wrong that was now. ((I probably have more articulate thoughts on this but I am really starting to feel the lack of pain meds so I need to get through this--))

2. Knives is really good at rhythm games and things like DDR or, when it's eventually released, Just Dance. Like, freakishly good. She picks them up just as well and just as quickly as she did her instruments.

3. With how quickly she picked up her instruments, she kinda gives me honor student vibes? Idk. I feel like it'd be a little stressful for her later on, because I do think her passionate drive for music makes her grades take a slight spin, but she just gives off that energy for me. Knives is a lot smarter than people give her credit for, I think, Idk.

... yes, I am very normal about media... spending 3 hours on 1 ask that offered me a lot more simplicity than I can apparently manage...

[sideprince]

A movie question I wanted to throw your way: what do you think about the decision to use a decent amount of physical acting on Rickman’s part for comic effect? I’m thinking his snatch of thin air in Philosopher's Stone, his creeping along the table towards Ron and Harry in Chamber, his dramatic point in that same scene, his walk up to the stage for Dueling Club, his whacking students in Goblet and Order, etc.

On one hand, I feel like this does match the tone of the books; he canonically lurks and prowls and points and snatches at the air, and his menace is often undercut by a physical description that’s meant to be some level of comedic. On the other hand, we don't see Snape nearly as much in the movies as we do in the books, so this aspect of his character seems somewhat overinflated by the movies?

TLDR I don’t think these decisions in the movie were completely out of left field, but it also feels off for some reason. Idk I don’t know how exactly to verbalize my feelings on the matter and wanted to hear your thoughts!

It will probably come as no surprise that I feel like any answer to this question is inseparable from the absolute hatchet jobs that are Steve Kloves' screenplays for the HP franchise. This reply is going to end up inevitably long (you ask me about my favorite subject, you suffer the consequences), but all of it is ultimately framed by the problem of having to make the best of a badly written script. (**edit: This post is way too long. Run away. Don't look back.)

The writing doesn't support the story

The first thing that jumps out to me is that there's a separation between where and how these comedic moments are used, up until the end of GoF and after. They're more a part of the story only until Harry's story arc reaches the point of Cedric's death, when he first witnesses death in the way that allows him to see thestrals after. GoF is when the story takes its first dark turn, and up until then the tone and story is much more in line with children's literature, so it makes more sense that Snape is portrayed in a bit of a playful way. After GoF - even though the films reveal it as an aside and much later than the original story does - Snape resumes his role as spy and becomes more integral to the story as a key character and is thus no longer just a foil in a children's story. I think what doesn't work about it is the inconsistency. The books have comedic moments with Snape too, which are cartoonish, up until the end of DH - I feel those are also out of place, but at least their existence gives a basis to what's done in the films.

Nevertheless, one of the biggest problems with the films is that they're badly edited. I'll leave that analysis for another post (you're welcome), but essentially these comedic moments feel inconsistent in part because there's often a disconnect between the performance a director has asked of his actors and the tone that's established in the editing room once pacing and a soundtrack are added. Any vision a director had for these films was muddled by the involvement of big studio producers and limitations. This is made more jarring by the way that Kloves has interjected light, funny moments in awkward ways throughout the scripts. He struggles overall to convey the world that Rowling has created, and if it weren't for the brilliant production design of Stuart Craig, Kloves' failures would be much more obvious (again, worthy of its own roast post).

Take the scene where Snape whacks Harry and Ron on the head in Gof: why are the students all studying in the Great Hall? Why are various years sitting together? Why is Snape overseeing them? It's a scene almost verbatim out of the book (Fred asks Angelina to the ball casually, he and George tell Ron and Harry to get dates "before all the good ones are gone," we find out Hermione already has a date), but like pretty much every scene that originally takes place in the Gryffindor common room, this one is moved to another location for no discernible reason. The main difference in the change is how restrictive it is: in the common room the children are free to be themselves, but in the Great Hall, under a strict teacher's nose, they have to be quiet and restrained. Another subject that would need its own post is the myriad of ways Kloves goes out of his way to rewrite settings and characters to avoid allowing them to express themselves or grow as characters, and how hard he works to stifle and limit them in ways that are convoluted and work against the story, as if he himself couldn't deal with any kind of emotional vulnerability (in a way, his scripts are a desperate cry for help). This directly contributes to why so many of Snape's comedic moments feel off.

The changes in the scene in GoF don't even make sense from a production perspective, as they required more actors, more lighting, and more setups. Instead of using the cozy setting of the common room to establish camaraderie between the students, Kloves replaced that energy and lightheartedness with Snape in a way that's uncharacteristic. The scene, as he wrote it, is already light and has humor, but Kloves doesn't trust it - he feels the need to exaggerate it and the casualties, as always, are the characters and their portrayal. It's as though he's following a formula and saying, "this page number/scene number must provide relief from the tension of the story" and then doesn't consider how following that directive fits into the rhythm of the narrative. It's closer to being an isolated scene akin to a comedy sketch than to a scene that's part of an act that's part of a film. It's worth noting that, in GoF, Kloves interjects this scene as if he's forcing this moment of comic relief into a story that didn't require it and then relies on playing off of Snape's usual seriousness as its crux. In OOtP, when there's a callback to it as Snape smacks Ron with a book again, it's no longer the point of the scene, but an aside in a comical montage focused on Umbridge (OOtP was also the only film not written by Kloves, so this moment is more likely the result of Michael Goldenberg trying to maintain a consistency with Kloves' work). Overall, I think that feeling of something being off is, again, more rooted in the writing than the performance.

Rickman as an actor playing Snape

There's a lot of criticism in the Snapedom of how Alan Rickman portrays Snape, but not enough acknowledgment that none of the characters are portrayed well, and most of it comes down to Kloves' writing of them. Book!McGonagall insists that all students under 17 are evacuated before the Battle of Hogwarts, where Movie!McGonagall only cares that the Slytherin students are locked in the dungeon, everyone else can stay, what does she care if first years die? Book!Hermione is intelligent and empathetic while Movie!Hermione is a two dimensional maternalistic harpy whose main job is to be a mouthpiece for plot exposition. Book!Ron is funny and brave and fiercely loyal, while Movie!Ron throws Hermione under the bus, is cowardly, and is reduced to a flatly written sidekick. Book!Harry is complex and while I could list a million examples, I'll stick to this one: in PoA when he finds out Sirius betrayed his parents, he's enraged but has no reply when asked if he'd want to kill Sirius. Movie!Harry says with conviction, and without prompting, that he wants to find Sirius with the explicit purpose of killing him. Every single character takes a hit because of how Steve Kloves writes them, and Snape is, sadly, no exception.

While some film shoots allow for improvisation, a big budget production on a tight schedule with scenes that require a lot of prep work can't afford to make many changes. So, for example, while Ralph Fiennes was asked to improvise his scene as Voldemort at the end of DH2 when he re-enters Hogwarts victorious (and that's why the dialogue is redundant and that weird hug with Draco continues to plague us), it could be done because the wardrobe and set and cast were already in place and the time required had already been scheduled in. It wouldn't be possible, though, to add an additional scene - like Snape going feral in the hospital wing at the end of PoA - unless it was written into the script. Additional actors would be required, which would mean coordinating with their schedules and adding them to the budget, not to mention scheduling in additional days with the crew who may already have other work lined up. It would require either pushing every other shooting day back - which is near impossible - in order to use the hospital wing set while it's still up, or tacking on production days to the end of the shooting schedule and rebuilding the set on those days. This can be done for necessary pickups that round out existing scenes, but you can't really say, "hey I decided we need a scene here that didn't exist before" without causing huge problems. Because of how contracts work, any significant scene changes would have to be sent back to Kloves who would have to write alternate scenes and/or dialogue, and even then if you wanted to fix a specific character's arc - like Snape's - you would have to add in so much that it just wouldn't be feasible. Screenplay lengths have to fall within a certain number of pages, because each page is approximately a minute of screen time, so adding a few more to a finished script mid-production is very difficult. The actors have to make the best of what's on the page. Which brings us to Alan Rickman, his choices as an actor, and what informed both him and the character of Snape.

Alan Rickman was a RADA trained actor, so his approach to a character involved a lot of physical work as well as character analysis. As far as I know, he was the only actor to contact JK Rowling directly to ask about his character, because he wanted to make an informed decision about how to play him since Snape was so nuanced and gray. Unlike some of the other actors (like Michael "DIDYAPUTYANAMEINDAGOBLETOFFIYAH" Gambon) Rickman read the books - those that were available when he took on the role, and each as they came out afterwards - and used them to inform his understanding of his character beyond what Kloves wrote (presumably in crayon with all the e's backwards). In interviews and Q&A's it's clear Rickman was fond of the HP books and story, and had a thoughtful process taking on Snape's character. He did not see him as a villain, because, as he's said, he didn't approach characters with that kind of judgment. And while I'm sure the egregious amounts of cash Warner Brothers threw at the actors was inevitably a factor for all of them, several of the ones playing teachers or other adults have said that they took on their role because a child in their life insisted on it, despite them being unfamiliar with the books, whereas Rickman's process was to read Rowling's books in order to decide whether to take the role. Again, he was a RADA trained actor, and thus had a meticulous approach to his work that followed a thoughtful, considered process and a decision based on whether he felt he could embody a character in a way that did them justice/if they were interesting enough to him. By the time he started shooting PS, he also had experience directing a film and was working as a director in theatre as well as still acting, so he understood the process from the perspective of not just an actor, but also as someone behind the camera, someone working with actors both as a peer and director, and someone sitting in an editing room.

We know from his diaries that he became increasingly frustrated with how his own process and expectations clashed with that of the producers on Harry Potter. He wasn't interested in renewing his contract after the first few films (goodness knows how much money they offered him in the end - his wife has said that he never let anyone else pick up a tab in a restaurant and if they argued, he would just say "Harry Potter."). He writes about seeing the films at premieres and being frustrated with how little story and development there is (especially for Snape), which makes me think there are deleted scenes somewhere that haven't been released. At one point he writes about a premiere party where he had internally lost patience with the three Davids (Yates, Heyman, and Barron). It's obvious that there's a discord between the work he wanted to do with Snape's character and what choices the production made:

He describes how, during the filming of the Yule Ball scene in GoF, there was an attempt to get him to dance but he refused because he didn't think Snape would dance:

It was a rare moment of potential for improvisation because, again, the set and cast and timing were already accounted for, and in this case there wasn't even dialogue. The scene where he smacks the boys with the notebook - as far as I know - was scripted. So there's a difference there in how much freedom he had, as an actor, to say no to what he was asked to do. Even in the above diary entry it's clear that, given his way, he felt the character wouldn't even be present in that scene, but he had no choice. This tells me that when he had more freedom to make choices, he did so based on his understanding of Snape as a character and, given that he was an actor who was both very respected (and got away with more than most) and also someone who could get argumentative about his character choices, I think this is the most apt lens to examine his physical work with Snape through.

Knowing that he wasn't interested in continuing the role of Snape after the first couple of films and that he was often frustrated with the lack of characterization and story arc, his physicality in his first scene in CoS (when he reprimands Harry and Ron for flying the car) says a lot. (Caveat that one of the reasons he didn't want to renew his contract was that the shooting schedule restricted his schedule and he wanted work on other projects, but I can't help but wonder if that had been the case had HP provided a more satisfying process.) It's almost certain that he had read all the available books by the time the scene in CoS was filmed, including PoA where Snape becomes apoplectic with rage in a way that, to a child reader, is comical (and intended to be) and to someone analyzing Snape is clearly rooted in triggered trauma.

Alan Rickman knew from the outset that Snape's motivation was his love for Lily, so he would have understood the dynamic between his character and Sirius re: who Snape thought sold Lily out to Voldemort. He would also have understood that Snape's reaction in PoA was more about distress and anxiety, and that this was connected to the promise Snape had made to protect Harry for Lily's sake. This would have therefore informed his portrayal of Snape's anger at Harry in CoS, and it's reasonable to assume that Rickman was trying to walk the line between the way Rowling portrayed Snape in full unhinged rage in PoA, what this tells him about this character when angered, and the connection between the moments in PoA and CoS when it comes to Snape's anxiety over Harry's safety. Unlike the author of a book however, who has full control of how they tell a story, Rickman was an actor in a film - an inevitably collaborative medium which therefore made his portrayal reliant on the decisions of others as well.

Chris Columbus, the HP movies, and feral Snape

PS and CoS were directed by Chris Columbus, the guy who directed both Home Alone and Home Alone II and Mrs. Doubtfire. He was a successful director from the 90s tradition of children's movies whose sensibility was informed by the era's attitude towards children's media: kids wanting to see themselves in narratives, in ways that felt empowering and allowed them to process the confusion of a world run by adults in playful, quasi-cartoonish ways within a 3 act structure where the villains - mean adults - get their comeuppance because it feels fair. One thing that set Harry Potter apart was that the villain was not the mean adult; Snape, the mean adult, is a character kids can hate and project their own experiences onto, but Voldemort is a true villain who represents evil and is vanquished by the hero. Chris Columbus established a tone for the first two films that was no longer apt by PoA, not only because it didn't work for the story, but because that 90s era of children's movies had ended and the culture moved on to more complex narratives (and Columbus has focused more on producing than directing since, because his style doesn't work for audiences anymore).

What's ironic about the way Snape's scene at the start of CoS comes off is that, in the book, there's a great comedic moment that's left out:

This is cut from the film, and instead it's Filch waiting at the top of the marble stairs who catches Ron and Harry being late and delivers them to Snape (I don't know why, the scene in the book is much more dynamic and would have taken up about as much time on screen). Rickman, meanwhile, is using the information he's gotten on who Snape is from the books, and imbuing some of that feral Snape energy into his portrayal of a Snape who is genuinely angry:

(Thank you for making these gifs @smilingformoney , they are truly the gift that keeps on giving.)

The thing is, no matter how much of feral Snape Rickman brought to this, no matter how menacing his performance is, this moment still lives within the dynamics of a Chris Columbus children's film. It gets cut off by Dumbledore's entrance - meant to be a comeuppance for Snape, since Dumbledore (being the voice of wisdom and fairness in this world) prevents him from punishing Harry and Ron (you know what, at least in the books they got detention, but ok). Despite Rickman's performance, Columbus as a director has framed this scene in the same context as the one Kloves cut. The tension is brief, and the focus is on Snape being foiled, because it's what children want to see - a mean adult experiencing consequences. It's down to the editing and soundtrack, choices Columbus made in the editing room. In addition, we don't know how many different ways an actor tries a scene, only what ends up in the final cut of a film. The process of the work done on a set is often much richer and more diverse than what an audience sees in the finished film.

Tbh I think this is also why Snape's feral moments were cut from PoA: it's a darker film, but had to straddle the line between being for both children and tweens and not getting too playful, nor too intense. As much as I want to see feral Snape on screen, it's extremely difficult to make work in a narrative that is about Harry and his friends. It either skews too intense, making the audience uncomfortable because seeing an adult becoming unhinged and in pain is difficult and frightening for most young people, even adults, and would therefore take away from Harry's goals and narrative as well as his changing relationship to Sirius (all of which is already barely supported by Kloves' writing). Alternately, it could also skew too comical and over the top, which takes the audience out of the tension of the film's climactic moments.

If Snape's story had gotten more focus and screen time, an unhinged moment would be better justified because the audience would have been more invested in the character and their arc. PoA sidesteps pretty much all of the most compelling parts of the book, which is the realization that Harry is not only connected to Sirius personally, but that his dad, Sirius, Lupin, and Pettigrew created the Marauders Map, that they were animagi, that Harry's patronus takes the form of his father's stag, and that Snape was initimately connected to all of them as well. For me, reading the end of PoA was what cemented Snape as someone who would be crucial to the narrative and whose role would increase as the series went on. As a result of Kloves skimming over these essential plot twists, Snape is a minor character in the film, showing up mostly as a foil who tries to expose Lupin and then catches him and Black in the Shrieking Shack (this also sets his character up to be minimized in every film down the line, which has a worsening impact as Snape becomes increasingly integral to the plot).

One thing I find interesting is that Snape's comical physicality changes over the films. In PS and CoS he's menacing, a looming, larger than life figure the children fear and easily assume to be a full-fledged villain. By GoF there's a relationship embedded in how he interacts with Harry and his friends. He's no longer terrifying, just intimidating, more of an adult Harry challenges than someone he must defeat. The comedic effect now comes from a rapport within an established dynamic between characters. By HBP, the only comical moment is at Slughorn's party, and it's no longer Rickman who uses physicality - the action happens around him, and the comedic effect is in his lack of reaction to any of it. In other words, he's no longer the comic one, he's become the straight man in a (badly written) comedy sketch (with abysmal timing, what even).

Ultimately, as with most of the characters in the HP films, Snape is undermined by the writing. Rickman was stuck working within the confines he was given. No matter how well he may have understood the character, the limited screen time and character development were always going to stifle how Snape was portrayed on screen. I'm very much pro Let Snape Be Feral but I also don't fault Rickman in how little we saw of that.

How Feral is Snape?

If I'm honest, I feel like the Snapedom has taken the Let Snape Be Feral thing and has started forgetting that he wasn't all-feral-all-the-time. The point of Feral Snape is that it's a heightened state of tension in a character whose trauma is being triggered. Apoplectic Snape wouldn't have an impact at the end of PoA if that was his usual way of being. And, as you so brilliantly showed @said-snape-softly Snape's speech patterns are primarily quiet and controlled, his speech gets softer the more dangerous his mood, and it's only after he reassumes his role as a spy that the description of his speech becomes increasingly volatile (but is still controlled). Feral Snape's definitive aspect is the lack of control shown by a character who usually is so exceptionally capable of self restraint and compartmentalization. So again, while I would have loved to see Feral Snape on screen, I think it's also important to acknowledge that this is not the defining feature of his character and is more about what those moments mean to his arc. Their absence is primarily due to poor writing that didn't create space for them (including what leads up to them), and the direction that didn't carve out any kind of niche for them, not Rickman's choices as an actor.

In fact, Snape as a character is defined by descriptors of his voice more than any other character by far. I have my own theory about why this is, and it has to do with Alan Rickman being inextricably connected with how Snape is written. Chris Columbus said that Alan Rickman was always Snape as far as he was concerned, because when JK Rowling showed him a sketch of Snape she had made, it looked exactly like Rickman. I don't think this is accidental.

Alan Rickman was always intended to be Snape

First, what's important to remember is that before Harry Potter, Alan Rickman was best known in the 90s for playing both villains and sad romantic leads. His signature defining feature was his voice. I think it was Ang Lee who described the casting choice of Greg Wise and Alan Rickman in Sense and Sensibility as wanting Willoughby (Wise) to be dashing and Brandon (Rickman) to be sexy (if this was Emma Thompson and not Ang Lee, my apologies, I can't remember where I read this and can't find the source). This is how Rickman was perceived by audiences up until Harry Potter. And I know a lot of the Snapedom considers him to be sexy as Snape too, but the general audiences of the films don't, so please don't @ me, I'm just setting up a point here.

This is relevant because, as we find out in the end of the books, Rowling wrote Snape's motivations to be rooted in romantic love (I'm very nobly putting aside, for the sake of focusing on Rowling's intentions, my personal interpretation that Snape's feelings for Lily were platonic, please acknowledge how brave I am for this). She pulls a lot from gothic tropes into how he's written, and as much as she's talked about the character having been inspired by a chemistry teacher she disliked, and as much as she's talked about Snape being both morally grey and someone she personally dislikes, she also romanticized him. Between this and what Chris Columbus said about her sketch of him, it's hard for me to ignore that this character, conceived of in the 90s, wasn't written with Alan Rickman in mind from the beginning, especially since Rowling herself has said that she envisioned him in the role. Whether or not he lived up to Rowling's imagination is, frankly, his choice and Rowling's problem.

The story of how Harry Potter was written according to JK Rowling is that it started with the idea coming to her on a train ride in 1990. She completed the PS manuscript in 1995. While everything I'm about to say is absolute conjecture, I can't help but wonder at the connection between these films and the way Snape was written (spoilers ahead, no regrets, these films have been out for over a quarter of a century - forgive my reviews, I can't help myself):

1988: Die Hard comes out. Alan Rickman plays Hans Gruber, a villain who is a genius, composed, controlled, and soft-spoken. (Great film, a classic, the only valid Christmas movie.)

1990: Truly, Madly, Deeply. Rickman plays a man whose wife can't get over his tragic death, nor can his own ghost, who comes back to spend more time with her. No one else can see him, and they can't really share a life anymore. She eventually lets him go as she realizes that his spirit doesn't belong in the mortal world and her own life can't move on as long as she clings to it. (Beautiful film, will break your heart and put it through a shredder.)

1991: Robin Hood, Prince of Thieves. Rickman is the Sheriff of Nottingham, an unhinged, feral villain who wears all black complete with billowing cape. (Terrible film, disaster of a period piece, Rickman's performance is the only redeeming thing about it. Halfway through its press tour talk shows started booking Rickman instead of the lead, Kevin Costner, because Rickman stole every scene.)

1995: An Awfully Big Adventure. Rickman is an actor who comes back to his hometown to revive his role as Captain Hook in a local theatre production of Peter Pan. In the process he has an affair with a young ginger stagehand who reminds him of his lost love, a vivacious woman named Stella with bright red hair who, as far as he knows, birthed his child - a son - before she died. It turns out the girl he has an affair with is his daughter, which he realizes when he visits her home where she lives in the care of her aunt and uncle - whose name is Vernon - and connects the dots of who this girl's mother was. (He then rides his motorcycle out to the pier, screams "Stella" at the heavens like he's in a revival production of Streetcar Named Desire, trips and hits his head on the edge of the pier and falls into the water, drowning. I can't make this up. Mike Newell directed this. The same guy who directed GoF. As if following in the vein of the 90s movie obsession with incest as the controversial-trope-du-jour wasn't enough. I don't even need to review this, just sum it up.)

1995: Sense and Sensibility. Rickman plays Colonel Brandon, a forlorn, grieving man who lost his first love at a young age and spends most of the film pining for the only other woman he's ever had a romantic interest in. Wears all black, rides a black horse.

Given what a well-known actor Rickman was in the 90s - especially in England - and how connected his characters all seem to be to various aspects of Snape, it's hard not to see a connection. The entire premise of Truly, Madly, Deeply sounds like the inspiration for the Resurrection Stone in Deathly Hallows. The redheaded lost love whose child is left in the care of an Uncle Vernon in An Awfully Big Adventure is difficult to look past. All of these characters either exude menacingly soft-spoken Snape energy, feral Snape energy, or forlorn because of his lost love Snape energy. As a result, I feel like it's almost inevitable that Rickman inspired Snape, especially when you consider how known he was for his voice and how frequently Snape's voice is used to describe him. When Rowling said that she envisioned him in the role, it makes me wonder if she meant during the casting process for the first film, or well before it. I think his previous roles were a contributing factor in how the character was written in the books. After Tim Roth - who was originally cast in the role - had to back out due to scheduling conflicts, she got her way. Authors don't often get to choose who plays their characters, but in this case it worked out as the production thought Rickman was a good fit as well.

I'm done, I promise

So where does this leave things at the end of this horrendously long post? Rickman's choices of how he physicalized Snape - comedic or not - are only part of a larger whole. He was playing a character who was written based on his other roles, and limited by the shortcomings of how Steve Kloves translated that character from Rowling's books into his own screenplays. Whatever Rickman did on set was limited by that writing, by the directors he worked with, and by the choices made in the editing room.

I'm fascinated by the idea that Rickman was playing a character written with him in mind - but not really him, the him who embodied other characters whose echoes show up in Snape. It's difficult enough to contend with an actor playing a character in a screenplay you wrote with them in mind when you're directing your own script, because they'll never be what you imagined in your head. But for that process to get filtered through several directors, a team of producers, another writer who changes your work, and an editor, let alone throughout a decade of films - that's downright wild. The original intention gets lost and reinterpreted like a game of telephone, and I think that a lot of the consistencies between Movie!Snape and Book!Snape are down to Alan Rickman's nuanced and generous nature as an actor. If I'm honest, I'm not convinced that every Snape moment that comes off comical was meant to be so by Rickman. But again, film is such a collaborative medium that his intentions aren't the only ones that matter, ultimately, at least they aren't the only thing that ends up in the final cut.

My take, personally, is that I'm more interested in critical analysis than personal criticism. I respect that everyone has their own vision of a character and fandom is absolutely here for, among other things, having a place to share those thoughts and feelings. But a character is rarely going to appear on screen the same way you see them in your head, and that's not always going to be a fault, even if it's a disappointment to you. It's interesting to hear different people's perceptions, but there isn't that much to discuss there - you can't refute how someone feels, and you can't argue that their truth is what it is, to them. Whereas with critical analysis there's a lot more to talk about and examine, so it's where my own interest is much more invested.

[pluckyredhead]

We made it, you guys! I'm wrapping up my blitz through all the Fourth World canon. I've already covered the comics of the 70s, the 80s, the 90s, and the 00s, so now let's get into everything post-Flashpoint!

Wonder Woman (2011): I'll be honest: this series is Not Valid, and Orion only shows up as a supporting character for about a dozen issues, so I just skimmed his appearances rather than actually reading the whole volume. Anyway this version of Orion slaps Diana's ass and hits on her relentlessly and isn't even from Apokolips. Highfather is emotionally abusive. No one else from the Fourth World even shows up. Throw it all directly in the trash.

Infinity Man and the Forever People (2014): Genuinely who was asking for a New 52 book about the Forever People (the most optimistic of Kirby's creations) written by Dan DiDio (a man on the record as saying he wanted "to take the smile out of comics")? Shockingly, it's not as bad as I was bracing myself for. I mean, the lore changes are baffling (Darkseid and Highfather are brothers! the Infinity Man is Highfather's conscience and that's why New 52 Highfather's such a dick all the time! Big Bear is from Apokolips and has a secret, angrier face because he's like a bonus Orion now!). And the art rotates through four or five different artists and all of the issues not drawn by Tom Grummett are hideous. But mostly it's just very boring and pointless? Let's all ignore it forever.

Green Lantern/New Gods (2014): Hey, do you remember when Green Lantern was one of DC's most successful franchises and they were publishing five simultaneous GL-related ongoings and they oversaturated the market so badly they could barely keep one GL book going until recently? I'm not saying shit like this is what killed the goose that laid the golden egg, but...I'm not not saying that either. (No seriously, I am genuinely fascinated by whatever the fuck DC did to the Lanterns in the 2000s and 2010s as, like, a publishing cautionary tale, but that's a story for another post.)

This was a three-month crossover across all five GL books - Green Lantern (Hal's book), Green Lantern Corps (John's book), Green Lantern: New Guardians (Kyle's book), Red Lanterns (Guy's book), and Sinestro - plus a New Gods one shot and a GL annual. That's 17 issues that are meant to be read in order to follow the story, and then you can optionally also read the tie-in issues of Infinity Man and the Forever People, which makes a whopping total of 20 issues dedicated to this storyline.

So what was the plot of this grand saga? Uh...Highfather tries to steal all the rings of every Corps like he's the fucking Trix Rabbit or something. The end.

Yeah, it's a mystery what killed the GL publishing juggernaut. 🙄

(Side note: this crossover adds a brand new Original Character Do Not Steal who is from Apokolips and was raised by Highfather and has a Secret Rage Face. After Infinity Man and the Forever People also gave Big Bear a Secret Rage Face. STOP STEALING ORION'S SHIT. You don't need extra bonus Orions, Regular Orion is right there!)

Bug! The Adventures of Forager (2017): This is a very charming, very strange series that isn't in continuity (it was part of the Young Animal imprint) and doesn't really forward the plot of the New Gods in any way, but it's funny and enjoyable. Basically, Forager wakes up after his death in Cosmic Odyssey (29 years prior, for those keeping track) and goes on a time- and reality-hopping adventure in which he interacts with various characters Kirby wrote and drew for DC over the years (although oddly, very few New Gods). It's the sort of series that rewards the long-time comic book reader, but I still enjoyed it even though I was very aware I was missing references. I wouldn't recommend it if you're brand new to comics, though.

Hal Jordan and the Green Lantern Corps (2016): Orion's in a couple arcs of this run, and they're pretty fun. Orion's heart gets removed from his body and Kyle keeps him alive with a construct! Hal races Lightray! Orion helps the GLs fight a shit ton of Darkstars! There isn't much in the way of advancing New Gods Lore (TM) here, but this is a pretty good series in general. A fun time!

Mister Miracle (2017): Sigh.

You know, the frustrating thing about this series is that some aspects of it are really good. The art is superb. Some of the humor really lands. Funky Flashman as the Frees' nanny is an utter delight. (The bit where he retells the Galactus Trilogy as "Jake's story" is especially charming.) The subtler take on Granny and the way Scott is still wrestling with her abuse and his complicated feelings about her is heartbreaking. And the big twist, when Darkseid demands baby Jacob in exchange for peace, and Scott's agony over the decision, is utterly wrenching. It's such a good conflict to give Scott, to have him try to wrestle with the decision his own father made and what the right answer is. I even believe King read more than one issue of Mister Miracle (1971) to research this! I mean, he references the Lump. That's a pretty deep cut.

But it's all undercut by his decision to make Orion a villain. King's Orion isn't just brutal and wrongheaded, like some earlier writers have portrayed him - he's a vindictive sadist who craves power and enjoys humiliating someone who, in all previous canon, he eagerly embraced as a brother. He has elaborately cruel plans and enjoys making others know their place - Orion, who is historically as subtle and refined as a two-by-four to the head. He's out of character in basically every possible way.

But this isn't just me being like "How dare you get my blorbo wrong?!" (That's my reaction to King's depiction of Lightray as a simpering toady.) Making Orion a villain, as I have said many times at this point, betrays a fundamental misunderstanding of the Fourth World's central concept, which is, like...not a hard concept to grok. The point of the baby swap isn't to see whether nature or nurture is stronger. It's that both babies grow up to be heroes. It's that good is stronger than evil. And if Orion isn't a hero, the whole thing falls apart. Instead, we get a bleak and fundamentally unbalanced take on the Fourth World that begins with a suicide attempt and ends with Scott resigning himself to a life from which he desperately wants to escape. And again, again, King's pessimism is mistaken for depth because someone else drew it real good.

Anyway I hate this comic, the end.

Justice League Odyssey (2018): The New Gods didn't really have a home base post-Flashpoint, which is why I'm covering so many books that aren't really New Gods books (Wonder Woman, the various GL books), because my crops are dying and I'm desperate for Orion to show up on his little scooter. Anyway this is actually first and foremost a Jessica Cruz book, which isn't really a complaint because I love her. Basically, Cyborg, Starfire, and Azrael (who is pretty OOC and also why is he here??? he doesn't know these people and he can't breathe in space?????) decide to go on an Illegal Space Adventure and Jessica tries to stop them and they all get swept up into an incredibly convoluted plan by Darkseid to turn everyone but Jessica into a NEW New God and take over the universe? Or maybe destroy it? UNCLEAR. Also the last time they all saw Darkseid he was a baby but now he's not anymore. How? UNCLEAR.

Darkseid kills Jessica but it doesn't take because she's the GOAT, but now he's taken control of Vic, Kori, and JPV, so Jessica has to team up with Orion, Blackfire, and Dex-Starr the Red Lantern cat to defeat Darkseid and rescue the others. Overall this book is so unrelentingly high stakes and cosmic that I kind of tuned out. After a while I just hit "we have to save the universe!!!" fatigue. But a huge part of the second half of the series is just Jessica yelling at Orion until he grumpily does what she tells him, and I truly could have read 40 more issues of that. I hope when it was all over he went and pouted at Lightray about how the Green Lantern was SO MEAN to him (he deserved it).

Verdict: Don't bother to read for New Gods continuity, do read if you love Jessica Cruz.

Mister Miracle: The Source of Freedom (2021): This book reintroduces Shilo Norman to the post-Flashpoint universe as a celebrity superhero and escape artist who aggressively protects his secret identity, because his predecessor Thaddeus Brown, who is Black in this series (and presumably going forward), had a public identity and dealt with horrible racism from the public. But his mask is partially torn off when he's attacked by N'vir Free, the daughter of Scott and Barda Free - who Shilo has never heard of. While Shilo tries to figure out who the Frees are and why N'vir thinks he stole her father's legacy, he also discovers that Thaddeus was secretly his grandfather, and has to unpack all of his emotional hangups about his own identity and legacy.

This is a great book for the humans of Kirby's Mister Miracle and a terrible one for the New Gods. Scott and Barda are not only dead, but their memories have been erased from most people's minds. N'vir is an awful character with a stupid name, and also a fascist dictator, which is...a choice for Scott and Barda's kid. (I'm assuming all of this is either taking place in a different universe than the main DCU, or has been retconned away, because Barda is currently appearing in Birds of Prey and is perfectly fine. And perfectly perfect. Please read Birds of Prey.) Orion does show up for a bit and he's great here, but he doesn't remember Scott either, which hurt my heart.

But it's a great book for Shilo, who gets to be a complicated, endearing but flawed protagonist instead of a sidekick who tends to get forgotten for years at a time. I'm a bit torn on having him be related to Thaddeus, since I like the idea of Shilo becoming a hero on his own smarts and spunkiness rather than inheriting it, but it allows for some really beautiful themes about legacy and being proud of where you come from, so it suits the story really well. And Oberon is a delight the whole way through (as always). Overall a good book, but somewhat to the side of the overall New Gods saga.

THE END. We did it, you guys! Now DC please greenlight a new New Gods book, thank you.

(Actually it should be double length and reversible so when you hold it one way it's a New Gods book and when you flip it to the "back" cover it's a Mister Miracle book and the stories intertwine. Do you see the vision???)

[princess-glassred]

Imagine if in the 1990's version of IT, when Richie walked into the library, instead of instantly seeing Pennywise, he looked down a specific aisle of books and remembered his own version of the arcade scene?

It was a saturday, and Richie was checking out comic books at the library since he was bored and almost all his other friends were busy. He pilfered through the bottom shelf for a while, until another boy just around his age walked over and started searching for comics too.

He's a really good lookin kid, dressed in baggy overalls and a sweater with the most gorgeous slicked back blonde hair he'd ever seen. And when Richie sees something amazing, well, he's gotta open his mouth and start talking.

He makes a joke, Richie is so flustered he cannot remember what the joke was but it gets this kid laughing and Richie is happy to have an audience that doesn't roll their eyes. They shake hands. "Richie Toziers the name, and doing voices is my game!" "Connor, Connor Bowers.".

The boys last name makes him take pause, but Richie laughs it off with another joke that gets them both giggling. He spots an issue of mad magzine in his hands and instantly launches into a big neurodivergent spiel about it, talking a mile a minute about his opinions and love for them while Connor stands and listens totally impressed.

They make more small talk until Connor breaks the news he has to go and Richie jokingly tells him not to let the door hit him on the way out, but just when Connor turns to leave, Richie is overcome with the urge to talk to him more, so he grabs him by the arm.

"Y-you know, I have a whole big comic collection at my house, first editions and stuff. Maybe sometime you could come over and see it... if you want.".

Connor seems interested in the idea at first, but some one turns the corner of the aisle and sees them: Henry, here to pick up his cousin. They are in a terribly compromising position right now, with Richie's hand on his arm like they've known each other for years, and Connor knows if he wants to avoid humiliation or worse he's gotta tell them kid off.

So, he jerks his arm away and yells "Get the hell off me! Are you a fuckin queer or something? Leave me alone.".. poor Richie doesn't even know how to process it, he's confused, offended, and deeply hurt, but he's not sure why. If it wasn't true why did it hurt so much? I mean, it wasn't true... right?

Connor turns to Henry and starts going on and on abour how this little fairy made a pass at him and is trying to get him to comeback to his house even after he told him no over and over again, and Henry gets fucking pissed. Richie attempts to talk his way out of it, but for the first time ever Richie doesn't have anything to say. What happens next is a total fucking blur to adult Richie, all he remembers is Henry pulling out his switch blade and grabbing him by the shirt collar. "I want you to get the fuck away from me and my cousin before i get down and show you what we do fags like you in Derry. You got it?" Henry says, and poor poor Richie can do nothing else but drop his books on the ground and comply.

So he runs, out of the library and out of adult Richie Toziers memory, leaving him to sit with his cup of water, badly shaken and ready as ever to run back home, just like he did all those years ago. And that's when Pennywise shows up.