#i will never turn down a tl interaction joke

[kvetchinglyneurotic]

Roy and Jamie's relationship is one of my favourite parts of TL, but the period between 2x10-3x04 when they're not antagonistic anymore but also not really friends, and their interactions mostly consist of Roy threatening to kill Jamie and slapping food out of his hands, is near the top of my list of writing decisions I did not like.

It's not that I think the two of them should have immediately started getting along post-Wembley or that I think Jamie necessarily should have found those moments triggering — it would have been a perfectly legitimate choice if the writers had gone that route, but given that James seems to be able to put on a friendly(ish) front based on what we know from the Amsterdam story, I could see how Jamie might find how upfront Roy is about his anger reassuring — but because it does a disservice to Roy as a character.

You have this man who's so painfully aware of his flaws, who cares so deeply about the people he loves but is afraid he'll drag them down and infect them with the worst parts of himself, who steps up to take care of his former rival — someone who embodies everything he once was and never will be again — when he's vulnerable and terrified after being abused by his father in front of the whole team. And then a couple of episodes later he threatens to knock Jamie's teeth down his throat.

Fundamentally, I think it's a matter of blending comedy with serious storylines, which TL generally does well, especially in the first two seasons. But I don't think a serious storyline and its comedy counterpart can effectively coexist in the same show. You can't show a character being threatened and assaulted by his father and then turn around and have another character do the same but it's a joke, this time, without undermining one of those storylines. It's the same with Beard and Jane: one of the main character arcs is Rebecca's difficult, painful healing process after the end of her abusive marriage, but at the same time there's a running gag about a couple that's written like they were playing bingo with the Wikipedia page for domestic abuse.

[yesthatsatumbler]

I'm reminded of the Letters from the Future project.

OK, so you probably wouldn't have heard about it. TL/DR: in 2002, there was a website where people could send messages to... um... let's say a girl from the future (...also from some kind of weird AU where her adventures happened in the 2170s and not the 2070s as the usual descriptions would have it), and get answers from her, for a while. The project functioned in this manner only for a few months; then the interaction part closed down (there were some vaguely-related fanworks posted on the same site later) but the existing letters remained up (I just checked and they're still up as I write this).

I found the site as an impressionable teenager in 2007, very much liked it, and for a while legitimately believed that the letters must have been arriving from some kind of future. Until I found the Fermat's Last Theorem comment.

Slightly paraphrasing: she said that Fermat's Last Theorem was still unsolved in her time, and that there was a strong suspicion that it was actually unprovable [in the Gödelian sense], but the attempts to prove that hadn't succeeded yet either.

Now, I could plausibly assume that an author in 2002 would have been unaware of Wiles, and/or, semi-equivalently, that by the 2180s some kind of error would have been found in his proof. (I think I knew about the DS9 joke/retcon by then; if not, I'd have read about it shortly afterwards.)

The part that made absolutely no sense to me in an "actual letters from a smart future girl" context was the suggestion that 1) FLT could have been unprovable; and, more importantly, 2) that this in turn is something that could be proved.

You can't prove that FLT is unprovable. It's absolutely, mathematically impossible. And this is still true even if you don't accept (or know about) the Wiles proof; it's a pretty simple argument that only requires relatively simple math.

...OK, now I should probably do the actual math.

Suppose that - theoretically - FLT was false. If so, it would mean that there was a solution to a^n+b^n=c^n with the usual restrictions on the variables (I don't recall the exact restrictions offhand).

In that case, you could prove that falsity simply by providing such a solution (and explaining why it worked).

If FLT was unprovable [again, in the Gödelian sense], it would mean that there was no proof of its falsity either. But, by the previous argument, it would imply that it was not false.

Consequently, any proof of FLT's unprovability would be trivially extended into a proof of its truth. Contradiction.

[Note that this argument does not depend in any way on the existence of a proof for FLT, and indeed quite easily extends to some still-unsolved problems, such as Goldbach's conjecture.]

...anyway, the above argument was something that I was sure a smart girl from the 2180s (or indeed the 2080s) could probably quickly work out in her head, and consequently I would not have expected her to phrase the response that way. [Actually, now that I checked the actual phrasing for the first time in many years, turns out it wasn't quite as clear-cut as that, but it definitely didn't sound like "maybe it's unprovable, but if so we'll never know" either.]

So the only explanation that matched the evidence was the normal one: someone (who presumably wasn't as good at math) must have been making up the answers in her name.

[The aforementioned answer also mentioned that they did determine, at least, that Fermat was mistaken when he thought he had a proof.

My headcanon is that Fermat's proof was based on the same principles as the 1847 proof by Gabriel Lamé, and that Fermat, just like Lamé, had failed to notice the rather arcane failure of factorization which invalidated that proof.]

It's a funny and unfortunate coincidence that in S2E12 of Star Trek: TNG (aired 1989) they talk about Fermat's Last Theorem as this untractable problem that even hundreds of years into the future people are still trying to crack. Fermat wrote down the conjecture around 1637, so when the episode aired it had been an open problem for 352 years. Little did they know that Wiles would finish the proof in 1994!

[intervalart]

(wip) the gang sees who’s posting this and reacts accordingly

[theoriginalcarnivorousmuffin]

You mentioned in a post that you don’t believe it was Tom’s intention to run his torture-factory/dystopian academy. Why do you think it ended up that way? Did he simply lose the capacity to care about the children at that point?

Oh god.

Why do you people ask me things that require Tolstoy novel length explanations about Tom Riddle that will still make me sound crazy by the end of it? 

Let’s get to it, I suppose.

My usual Tom Riddle analysis disclaimers: we have a lot of ground to cover and little time cover it in so I’m not going to expand on every single line I drop, I will undoubtedly offend somebody if I haven’t already and if you think that might be you then you should probably move along, we’re going to have to make a lot of assumptions.

Required reading material (yes, you have asked an ask that has goddamn required reading material):

Tom Riddle’s Goal Was to Destroy the Wizarding World

Tom Riddle’s Not Crazy

Tom Riddle is Depressed and Suicidal

Voldemort is an Idea, Not a Man

You read it? For realz? For really realz? Okay, then let’s move forward.

I think it’s a bit of both.

I think by the time we get to Tom Riddle in canon, let alone Deathly Hallows, he is buried in rage, depression, and nihilism. He cares about very little anymore, is probably in constant physical pain, life is a black pit of despair, and it’s only fitting that somewhere out there the children are suffering too.

Now that said, I do think he never intended for Hogwarts to become the way it did and did put in fairly reasonable efforts so that it would not. It did anyway. Why do I think that?

He left most of the staff, key staff members at that and known resistance members, untouched and in their posts

He put Severus Snape, of all Death Eaters, in charge of the school

He turned a blind eye to the active student rebellion of nearly half the school’s population

He did not remove the children of known resistance members from the castle and make them hostages

The battle of Hogwarts

The Staff

It’s very telling to me that there is little to no turnover of the staff. Yes, we get the Carrows for Defense Against the Dark Arts and Malfoy gets to be a hall monitor on steroids, but all the original faculty remains and most retain their full original positions.

Minerva McGonagall, who is a known Order member, is allowed to retain her position as Transfiguration professor even when she actively aids and engages in the student led rebellion at the school. Hell, she actively spies on Hogwarts’ inner workings and reports back to the Order, and Tom lets her get away with this.

Despite Tom’s destroying the sorting hat, which I actually fully agree with as I think that thing actively causes major rifts in wizarding society, he actually doesn’t want to rock the boat and in this wants education to continue in much the same manner as before he took power.

He Leaves Snape in Charge

Snape is by far the most level headed Death Eater and actually has experience as a professor, seems to handle children well enough, and has existing relationships with the Hogwarts faculty. If anyone was supposed to get Hogwarts working under the new regime and keep everything in check, then it’s this guy.

I imagine Tom thought Snape could easily handle this. Snape can’t handle this.

Unfortunately, Tom trusted Snape to be competent. Snape chose not to be competent, or rather, I’m sure he had no idea what the fuck Tom wanted from him. I think, for all Snape managed to evade detection, he really has no idea how Tom Riddle works, mostly because all he sees of the man is the ridiculous show that is Voldemort. Based on that, Tom Riddle expects the castle to be in ruins by the year’s end, and Snape delivers the best appearance of this he can while actively turning a blind eye to student rebellion.

In other words, Snape went with his best guess of chaos and despair, which was a good guess.

So Snape sits there as Headmaster, the faculty refuses to interact with him, the hired on Death Eater faculty don’t listen to him and he can’t quite tell them off for torturing the children, because he’s pretty sure that’s what Tom wants and the whole thing spirals out of control until the children are actually arming themselves and Tom Riddle has to actually invade Hogwarts.

He has to invade a school, cutting down children, because Snape could not do his job. 

Tom Turned a Blind Eye to Student Rebellion

Remember Dumbledore’s Army and how quickly they were found out? These kids are not being at all secretive. They’re having meetings that both Snape and McGonagall are aware of (both doing their best to hide it), we know that eventually Draco the Hall Monitor finds out about it, and it’s clear that there are key active instigators in Hogwarts.

They then actually barricade themselves in a room and refuse to leave, arming themselves for “the rebellion”.

Tom does nothing.

Oh, sure, the people inside the castle do things but Tom never instructs them to stake out Hogsmeade (where they must be getting supplies), to start pulling out the big guns and threatening their specific families, or anything more.

I think this shows Tom was willing to let a lot go, he just couldn’t let go actual open rebellion or the reemergence of Harry Potter the messiah figure rallying the troops.

Where Are the Hostages?

Tom Riddle knows the entire Weasley family are very strong members of the Order of the Phoenix. He knows early in that Neville Longbottom is instigating rebellion within Hogwarts.

Ginny is not immediately taken from Hogwarts, she is, in fact, sent on her merry way and seems to do just fine for months even when her brothers are writing “U No Poo” on their store windows (and indeed, Fred and George suffer nothing for that either). 

Neville, while he does eventually go into hiding, is able to act on his own for months as a known close friend of Harry Potter’s and is never taken hostage.

To me it seems very clear that Tom Riddle really does want to leave the kids alone and as undisturbed as he reasonably can given the circumstances.

The Battle of Hogwarts: The Timeout

Tom is eventually forced to invade Hogwarts. His enemies are school children and the teachers who think it’s a brilliant idea to send said school children into battle (it’s the Dumbledore way!)

It’s a slaughter house.

As Harry’s running around like a lunatic he glimpses children being murdered and grievously injured left and right. The Death Eaters are not suffering nealry as collosol damages.

And yet, despite this, Tom calls for a timeout.

He gives a very weird speech, in which he’s giving them an hour reprieve (HINT HINT, WINK WINK) in which they are to deliver him Harry Potter. At which point the battle will be over and they can all go home.

Tom had the advantage, had he cared nothing for the children or actively wanted to put them down, he could have easily done so and captured Harry Potter. Instead, he takes the world’s weirdest timeout, making a very loud announcement about his timeout, likely in the hopes that the children would take the hint and get the hell out of the castle.

No one gets the hint.

Instead, Harry Potter shows up ready to be murdered. Tom will take it, murders Harry, carries his corpse into Hogwarts saying, “YOUR HERO IS DEAD, DESPAIR, NOW PLEASE LEAVE SO I CAN STOP MURDERING ALL OF YOU.”

Harry then springs to life, “GOOD NEWS, EVERYONE! I’M NOT DEAD, YOU CAN CONTINUE MURDERING ALL OF US!”

Tom dies inside, then per my earlier post, runs into an arrow and dies for realz.

TL;DR Tom Riddle’s life is a joke in which he unintentionally ends up murdering the children

[itsclydebitches]

RWBY Roman Holiday: A Review

Hello, everyone, and welcome to my review of RWBY: Roman Holiday by E.C. Myers! Given my tendency to discuss this franchise at great length, I thought I'd start with a tl;dr section for those who might just want my general takeaway, not a deep dive into some of the novel's specific flaws and strengths. So with that in mind... 

Did you like the book?

I did! Let me put it like this. I'm incredibly critical of any RWBY material nowadays, I haven't had the energy to read #realbooks for a while, and I still managed to finish this in five days, even while stopping every few pages to take notes. So it was entertaining enough to hold my attention, unlike Before the Dawn. Is it a perfect novel worthy of nothing but endless praise? No and I'll delve into the many problems below. But is it also one of the better RWBY installments I've engaged with lately, including recent Volumes of the webseries? Yeah. If you're still emotionally attached to the show or these characters, I recommend giving it a try for the sake of nostalgia. 

But isn't there a bunch of creepy stuff in it? Didn't Myers turn Roman into a pedophile? 

No, he didn't. As I suspected, the rumors that we've been hearing lately probably came about from taking certain moments out of context, or by blowing up some pretty minor implications, or by straight up reading interactions between an adult and a minor in very bad faith. Purity culture and a desire to drag RWBY combining to create an argument that, frankly, isn't supported by the text. Are there jokes and interactions that some readers might find uncomfortable? Yes, but it’s no worse than what RWBY has already established as a canonical part of their world and writing style. See: Yang's interactions with Junior in her Yellow Trailer. If you're a fan of Roman and have held off only because you're convinced the novel ruined his character, I personally don't think that's the case. Breathe easy. 

I'm still worried about how the novel treats disability though. Specifically Neo's muteness. 

I was too, but I'm happy to report it's a pretty tame portrayal. If anything, I have more to say about the intersection between Neo's semblance and her sense of identity. Suffice to say though, Neo never speaks in the novel, there's no ridiculous reason why she can't speak (no reason is given at all, it’s simply a part of her), and only the bad guys pressure her into talking. Meaning, the bad guys from her and Roman’s perspective. Obviously she and Roman are both villains in the RWBY world, but when it comes to respecting each other's needs they're definitely, comparatively better than the rest of the cast. 

So there were no problems? 

Oh no, there are definitely problems lol. Let's just say they're not offensive enough to bother the average RWBY fan. At least, most of them (probably) aren't. If you're not neck deep in the franchise's struggles and actively thinking about how this novel does (or does not) fit into the larger RWBY-mythos, there's a very good chance you'll like the book, passing over everything I’m about to mention without a backwards glance. Hell, even if you're looking for problems there's a good chance you'll enjoy a lot of other aspects, just like I did. So I recommend taking a chance on the book far more than I recommend steering clear on principal alone. 

Okay, with that out of the way it's time to dive into the nitty-gritty!  

FYI I'm pulling my quotations from the paperback edition and, as is probably already obvious, this is not a spoiler free review. So tread carefully!  

Part One: An Imbalance of Protagonists

Would you like RWBY: Roman Holiday? Well, that might depend largely on which of its main characters you're most interested in. If it's Roman, you may be disappointed, despite the fact that the book is evenly divided between his and Neo's perspectives. This is, fundamentally, a book about Neo. She is the one undergoing all the character development. She is the one who is driving the plot. Roman just sort of exists within a criminal status quo until he bumps into her — almost exactly halfway through the novel's 308 pages — and then becomes caught up in her training, her desire to concoct new schemes, and eventually her family's problems. I don't want to make it sound like Roman is unimportant to the book, he's obviously there and he does things, but we're not given the same level of insight into him like we are Neo.  Frankly, I can think of only two significant revelations, both of which we might have easily guessed based on Roman's established characteristics: his mother abandoned him when he was a kid and he once worked for one of the main crime bosses in Mistrial, specifically Lil' Miss Malachite. Otherwise, everything Roman does and experiences is precisely the sort of stuff we saw him do and experience in the webseries. He commits petty crimes, fights people with his cane, and does it all with a dramatic flare which, notably, Myers writes quite well. 

This lack of impact on the story seems to stem from two decisions. First, Myers never jumps forward or backwards in time (with the exception of two small scenes that explain how characters got to a point we saw in the last scene/chapter). Though this definitely helps to keep things from getting confusing, it means that we never go farther back than Neo at 8 years of age and we're always looking at what both characters are up to at the same point in time. Given that Roman is a decade older than Neo, this means that, unlike her, we never get peek into his childhood. When she's 8 he's 18, already an adult and committing crimes in Mistral. A lot of Neo's development is inevitable, just by virtue of starting her story so young. She has to mature, develop her semblance, go to school, try various ways of being independent for the first time... Roman gets none of that. He's an adult when we meet him, his character fully formed and, since we already know that character from the webseries, we're given no new insight into him or how he developed that identity, just a reconfirmation that it exists. 

More of an issue though is that Roman isn't allowed an arc over the course of the novel. The man we meet on page 9 is precisely the same man we end with on page 308 — with the minor exception that he now has a partner in Neo and that, sadly, is a lesson he learns instantaneously. For the first half of the book, Myers sets up the expectation that learning to trust and, specifically, learning to trust someone like Neo is the great conflict that Roman will have to work though. He's very cynical in his own head, as we might expect: “On the streets, on your own. You only watched out for yourself. Anything else was a weakness. Anyone else was a liability” (14). No sooner is this perspective established than Roman is meeting people who challenge it. While babysitting the Malachite girls, they provide advice on how to improve his chances of pulling off heists: 

Melanie and Miltia, simultaneously: “You just need the right partner.” 

Roman: “Maybe. I just don’t believe anyone is going to watch out for me as much as I will” (41). 

After betraying Lil' Miss and fending off his peer Chameleon, she sadly announces that "you might have gotten what you wanted after all if you hadn’t been in it only for yourself. If you had allowed yourself to trust someone” (87). Myers isn't subtle about the theme here. 

Yet when Roman meets Neo, that trust is immediate, despite spending his entire life rejecting the idea of a partner, despite the viewer having just read about numerous other people who Roman spent years fighting beside and still didn't come to trust, Neo forms an instant, powerful connection with him — one that can't be explained by her saving his life when they first meet. Even Roman himself acknowledges that it's just another debt to repay. They simply click, with no explanation as to how that occurred, or even a serious acknowledgement that this is out of character for them both (what with Neo never having had a friend). Neo gives him the name "Neopolitan," knowing it's her true name now and, thus, a more personal offering than her birth name "Trivia." Roman gives her his entire life story during their first meal together. Roman also spends all of his money on Neo's modified parasol and at the novel's end continually offers to sacrifice himself so that Neo can escape. Neo thinks a lot about how Roman is the only one who can understand her through body language alone which, kudos to Myers again, he does describe her movements with enough clarity to sell that understanding (even if Roman does sometimes make leaps in logic that feel a little unlikely). “She really missed Roman. Most of the time she didn’t need to say anything and he knew exactly what she was thinking” (249). It's heartwarming. As someone who enjoyed their relationship in the webseires, this is likewise a joy to read. It's just that it... kinda came out of nowhere. 

Far from this just being an issue of Roman trusting when he's never trusted before, Myers sets up a conflict of loyalties in Neo that is then immediately dropped. She finds herself surprised by Lady Beat — the headmistress of the academy Neo attends — unexpectedly liking her insights and, in exchange for privacy and a more in-depth curriculum, agrees to help her capture Roman. Prior to this agreement, Neo considers helping the Malachite twins take Roman out when they corner him because then they might be Neo's friends instead of her bullies. That motivation makes perfect sense to me. Of course Neo would be more interested in assisting the two girls who attend school with her and improving her daily life over helping the random guy on the street, even if Roman's vulnerability (that's what Neo latches onto: a moment where his mask slips and he shows true fear) sways her towards helping him in the end. When she reunites with Roman later, he requests that she help him spy on Lady Beat... and Neo turns him down. So there's a very clear precedent here of Neo being out for herself, looking to improve her relationship with the other high society ladies she's spending most of her time with. The road to favoring Roman over them will be a long one. What will convince Neo to switch sides? 

Nothing. Soon after Neo thinks about how she's duping both Lady Beat and Roman (the reasoning there is never really explained) and from then on her focus is entirely on Roman, with likewise no explanation as to why she chose him in the end. “Roman clearly had some trust issues to work out, but Neo was going to prove to him that he could count on her” (219). Why this sudden desire to prove herself to Roman? No idea. The novel skips over the majority of their bonding. Yes, there are a few key scenes — Neo saving him, Roman giving her the parasol, etc. — but a single sentence reveals that Neo has been training with him for months now, bypassing the slow development of trust and Neo's changing thought process about what side she should choose. 

Or rather, there are explanations for Neo's decision, but they all occur after Neo has already chosen Roman. There are two major revelations that we're only told about much later in the novel: that Neo is suddenly dissatisfied with her life at school — “Neopolitan was having second thoughts. As much as life at the school had improved, more and more it felt like it wasn’t giving her what she needed” — and that Lady Beat is the head of a major spying conspiracy across all of Remnant (more on that later). Either one of these could have been the catalyst for Neo giving more attention to Roman and, eventually, growing quite close to him. A general dissatisfaction with her life, the revelation that Lady Beat isn't the kind of criminal Neo wants to support...either would work. As it is, her devotion to Roman seems to immerge randomly, fully formed and unshakable, with these ‘I guess the school and Lady Beat weren't that great after all’ justifications tacked on much later and, thus, presented as incidental to Neo's devotion. “[Roman] was basically the only thing that mattered to her in the world right now" is the conclusion Neo comes to without a lot of work put in to explain how he reached that point in her life (248). 

And I can see how this happened. We already know that Neo and Roman are a tight-knit duo from the webseries — Neo's love in particular has been emphasized since Volume Six — and so Myers banked on the reader applying that knowledge to the novel. He wrote the story of what Neo and Roman did prior to meeting, he wrote the story of their friendship prior to the webseries... but he didn't really write how that friendship came about. It's treated as a given, despite the huge number of reasons why that friendship should be rocky (or even non-existent) at the start, to say nothing of many fans' interest in getting an answer to the question, "How does an established villain who trusts no one wind up partnering with a girl a decade his junior?" The novel tells us that this unexpected outcome does, in fact, occur, rather than taking us through the journey of how such an outcome is possible. This is by no means a new problem in RWBY and, admittedly, Myers' depiction of the relationship isn't as noticeably a problem as some others in the webseries, simply by virtue of Neo and Roman being the focus of the novel and the reader knowing that they do, in fact, end up as partners. It's a lot easier to buy a shaky journey when you already know the inevitable conclusion, but that doesn't mean we couldn't have done a better job of showing it. 

Which, to get back to the original point of this section, means that Roman never has that arc about learning to trust someone. He just does trust, the moment Neo comes on the scene. Personally, I think this rapid-fire growth is particularly egregious given everything else we learn about Neo and Roman’s histories. Meaning, just like Roman's cynicism about trust is introduced early on, so is his hatred for the rich elite. In fact, Roman's poverty and the disdain that has bred are arguably the most prominent aspects that Myers added to his characterization. As seen in the novel's excerpt release, Roman's introduction is robbing a rich man coming out of a club where he shows more interest in humiliating and harming the man than just getting his stuff and running. Which, to be fair, isn't solely due to the man's status as a member of the elite. The novel develops both characters' sadist tendencies — “He’s vicious. He brutally beat a man just for his coat. He was having fun” (21) — but the man’s status isn't a non-factor either. Roman's internal thoughts say a lot about how stupid, rude, gullible, pathetic, and inept he thinks the rich are. At the start he's not just taking the man's coat because he likes it, but because he’ll need it to survive the Mistral winter, what with living in a shelter under a bridge and all. We learn that his obsession with survival is born of poverty — “Ma’am, when you don’t have anything, surviving is more. You’ve gotta start somewhere” (20) — and that Roman will go to any lengths just to meet his basic needs, potentially with a side of some comfort. For example, he knowingly risks his life by pissing off Lil' Miss just to get two days of food, baths, and a bed. As Roman puts it, those two days are worth it, even if it means the rest of his life is potentially forfeit. 

So this is a man driven by a desire to live in comfort, manifesting in a hatred of the rich that is so powerful Roman breaks the man's knee just for the hell of it. He's touchy about any comment on his upbringing too: "Roman froze. 'So that’s it. You think you’re better than me. Because you went to school? Learned a trade?'" (80). And, to be clear, this is a hatred of the high society rich. The kind of wealth that's never earned. Roman has a healthy respect for the well-fed crime bosses who have pushed their way to the top, just as he plans to. Not those living cushy lives at the expense of him and others. 

And wouldn't you know it, his partner to-be is a pampered little rich girl. 

"There's the conflict," I thought. "Roman doesn't just need to learn to trust, he's got to trust someone born into extreme luxury. How is that going to happen?" Well, again, it didn't. Neo and Roman's class difference is ignored for 99% of the novel, with the other 1% used for casual banter between them. It's not that Roman isn't aware of Neo's pedigree, so to speak. He finds her through the uniform she wears, the symbol of an academy that rich girls attend. When they share their first tea together, he notes how daintily she eats the sandwiches, more evidence that Neo has had manners drilled into her at a young age. When he finally gets confirmation that she's not just rich, but really rich — flying to her parents' mansion — Roman is just kinda moderately surprised, throwing in a comment about how someday that money will be hers and isn't that nice. Roman's hatred of the elite disappeared for Neo's sake, just like his trust issues did. There's no working through these differences, just an erasure of them so the novel can jump straight to them being the perfectly in synch duo we know from the webseries. 

As a side detail that I think demonstrates this imbalance rather well, hair is used as a marker of identity throughout the novel. Neo moves from being jealous that other girls are allowed to style their hair how they please, to making her hair entirely pink with her semblance, changing that to half brown instead, buying pink dye so she no longer needs to waste energy on something she wants to be permanent, and ending with her getting some white streaks even as she chooses to leave the name Vanille behind. Each change coincides with an aspect of her development and it works quite well. In contrast though, Roman has only setup, no follow through. Unlike the short cut we're used to in the series, Roman starts the novel with a long ponytail that characters frequently comment on. The twins steal his hat and beg to braid his hair when they're bored. Neo seems iffy about the style choice. A couple other side characters make vague references to imply that he should get rid of it — something, something it doesn't actually suit him. So surely we'll see Roman cut his hair sometime before the novel's end, visually representing his growth, just like Neo's changing color has represented hers (ending with a color mix that reflects neapolitan ice cream)? Nope. Not unless I missed it. The foundation for that change is there, but Myers never capitalizes on it, despite obviously knowing what he's doing with Neo. 

So if you want more Roman content, the kind of content we saw in the webseries, great. You'll love the novel. If you want to read about Roman undergoing any significant change, including a dive into how he came to trust Neo of all people, large chunks of that story are missing. In true RWBY fashion, there are plenty of details that allow readers to fill in the blanks for themselves, but the canon itself is, sadly, lacking. 

Part Two: Neo's Magical Identity 

We've established then that Neo gets the lion's share of the development and, frankly, most of it is good. Knowing she's set to become a villain, I loved reading the gradual move from understandably lashing out — Neo throws an umbrella at her father's face when he's being an emotionally abusive dick — to becoming just as stoically cruel as Roman — she launches a woman out of the back of a plane. Did she have a parachute? Who cares. There's a lot here to like about Neo's characterization, with Myers finding a nice balance between keeping her playful and not making her feel like a caricature (helped immensely by spending so much time in Neo's head). However, the one part that arguably fails is the development of Neo's semblance and, consequentially, her identity. 

To be clear, I absolutely get what Myers was going for and it's basically what I assumed was going on when I read the excerpt: Trivia (Neo's birth name) has an imaginary friend she calls Neopolitan and, over time, she realizes she is Neopolitan. The imaginary friend is who she wanted to be all along, not just the person she wanted to spend time with. I like it! Who among us hasn't imagined a badass, smooth-talking, beloved version of ourselves that impresses everyone with a Mary Sue-esque ease? (Or, if you haven't, guess I'm outing myself here lol.) It's a pretty relatable idea. Trivia imagines a girl with the power to dress how she wants, style her hair how she wants, with amazing acrobatic skills, a take-no-shit attitude, fun ideas to implement... but she also has Trivia's heterochromia and muteness. It's the perfect combination of Trivia's unique traits and the confidence/freedom she longs to have. Of course when given the chance she grows up to be Neo, even going so far as to take that name. It's what she always wanted. 

The only problem here is that in the RWBY world, Neo can't just be an imaginary friend. She's a manifestation of Trivia's semblance. As we learn later, the things Trivia creates are as real as real can be, provided she keeps up their existence. You can touch the wall. You can count the money. You can wear the clothes. They're less illusions than short-term creations — as Team RWBY realizes whenever they wind up attacking a Neo duplicate instead of the "real" thing — and that puts an odd spin on just how imaginary Neopolitan actually is. She's not imaginary at all. She's a real person that exists in the real world, it's just that this existence is temporary and dependent on Trivia's aura. 

The novel supports this by constantly writing Neopolitan as a distinct personality from Trivia. Not just the polished version of who she is slowly becoming, but an individual in her own right. Neo makes decisions that are fully her own, contrary to or even entirely unknown to Trivia. To highlight just a few examples: 

Trivia is unsure about sneaking out of the house so Neo "shoved her into the hall" (25). 

Neo "looked on jealously” as Trivia drinks a milkshake, implying a desire to have one and the knowledge that her current physicality doesn't allow for that. If she is Trivia, shouldn't she likewise be enjoying the shake? 

“She shot Neo a questioning look... before she realized what Neo had in mind” (92). Their thoughts are presented as separate and there's no instant mind-reading. 

Neo catches Trivia when she leaps out of a window, surprising her with the save. Trivia never planned for Neo to do that, Neo did it entirely on her own. 

There are lots of other instances like this, details that establish Neo has a person separate from Trivia (this confusion regarding their names should make that clear enough), no matter the fact that she's made out of aura. I mean, we've got Ozpin existing only as a soul in other's bodies. RWBY isn't exactly in a position to get nit-picky about personhood. More specifically though, Neo is presented as a bad influence on Trivia, an outside force enacting on her in harmful ways. Neo's introduction establishes her as the troublemaker to Trivia's more obedient personality: “But those were her parents’ rules, and Neopolitan never cared about those.... She bounced up and down on the cushions the way she wasn’t supposed to” with a “taunting smile” (2). Her father comments on this multiple times, saying that Trivia can't hide behind an imaginary friend. She's responsible for her decisions. And while yes, that's true, that level of responsibility changes when Trivia summons Neo into the world. During a fight with some other teens, they can suddenly see Neo and Neo, independent of Trivia, punches one in the face, making her nose bleed. That seems like a real person making her own, real decisions to me. So it was never Trivia doing things and then trying to foster responsibility off on an imagined cohort, it's a child bringing another, magically-based person into existence and being influenced by her since before the age of 8 (considering that Trivia and Neo have clearly been playing with each other for a long time when the novel starts). There's even a moment where Trivia seems to realize all this, acknowledging that sneaking out, breaking up her parents' party, causing a scene... all of it was Neo's idea. “That had to be Neo’s influence again. Trivia had to stay in control." 

But the idea of control is never actually explored. Despite establishing Neo's individuality and having Trivia comment on her influence, the second half of the novel abandons that for the expected, 'Trivia was Neo all along' reveal. There's a very strange moment where Trivia's mom slaps Neo, causing her to shatter and... that's it. “Neo had been so much more to Trivia. Now she was gone” (98). Neo is, apparently, gone for good, despite the fact that she should return the moment Trivia's aura does. Neo has been with Trivia since she was a small child, nearly her entire life and at least 7 years by this point in the novel, so why did a single slap send her away? That's not explained and, much like the ‘Why has Neo chosen Roman?’ question, the fact that Trivia did try to bring her back several times and failed is mentioned chapters after Neo's absence is presented as an inevitability. The order of events needs some reshuffling. 

Despite this confusion regarding why this change happened now, the explanation seems to be that Neo isn't really gone, Trivia has just realized for the first time that she is Neo. No need to summon up a separate person when you are that person and the novel, from then on, is peppered with constant reminders of this. 

“Trivia was on the verge of exhaustion, but she kept burning the last of her Aura to hold Neo together. To hold herself together” (96). 

Realizing she is Neo: “Trivia smiled. She took in a deep breath. She felt complete for the first time. She felt like herself” (99). 

“You must be Trivia,” the tall woman said. If I must, I must, Trivia thought (126).

“She wrinkled her nose. Her name still felt like a coat that didn’t fit right. She would need to tailor that, too” (153).

“Losing her friend was Trivia’s first step towards putting herself back together and embracing her true, best self” (152). 

“Wearing this [outfit], she almost, not quite, knew (or remembered?) who she was—not as a student or a daughter, but as Trivia Vanille," except the clothes are “the kind of thing Neopolitan would wear” (152-3). 

On not being able to summon Neo anymore: “She had realized that Neo was really just another aspect of herself” (175).

Though there’s also the occasional implication that she's not actually Neo, just someone highly influenced by her: “No, [fully pink hair was] too much of the other girl [Neopolitan]," so she settles on that half pink (Neo), half brown (Trivia) combo (153). 

As said at the start, it's a "twist" that works perfectly well... provided you ignore the magical elements and the amount of work done to establish Neopolitan as her own person, not just Trivia in a shiny, future glamour. Far from the empowering victory I expected to feel in watching Neo become who she always wanted to be, I found the whole situation to be somewhat tragic. Magic created a fully realized person who egged Trivia towards bad behavior since she was a young child, until Trivia comes to the decision that she should just embrace their personality 24/7. It felt less like the growth of a character into who they were meant to be and more like a manipulated kid taking the place of the person who used to exist alongside her — the only friend she ever had before Roman. Given that Neo is a villain, that's a pretty interesting idea for how the good girl goes bad... but it doesn't feel like Myers meant it that way. Rather, we're supposed to accept the simplest reading, that Neo was just a projection of Trivia's internal self, never-mind her individuality, her pressuring influence, her existence as something real in the world provided Trivia has aura. It's a much messier depiction of Neo's identity than that ‘She had an imaginary friend who she admired and eventually took her name’ setup. When magic is involved and a character's mind is creating fully realized people to stave off loneliness... that's a whole other kettle of fish. I don't actually want to delve into a psychological reading here — I simply don't have the expertise for that — but suffice to say, Neo's muteness might have been handled well, but there's a lot more to interrogate regarding her mental state and how much leeway we give to, ‘It's a fantasy series, just run with it.’ 

Part Three: You're Dodging Those Rumors, Clyde 

I admittedly am. Let's take a break from deep dives into characterization to instead tackle Roman Holiday's — undeserved — reputation. I get it. At this point the RWBY franchise is, frankly, a poster child for offensive content and workplace problems. In the last two years alone we've dealt with horrific crunch culture, sexual harassment allegations, an arguably glorified assisted suicide, bad comparisons to real life politics and dictatorships, a huge reversal on the show's disability stance, one subreddit banning another over criticism, a collective YouTube response to the fandom's behavior, iffy choices regarding Mother's Day merch, accusations of queerbaiting, a resurgence of using Monty's death to forward or dismiss arguments, continued worry over whether the bees will be made canonical next Volume... and honestly, that's just some of the big ticket subjects. RWBY's story, workplace, and fandom have a lot going on, much of it bad, so it's no surprise to me that people are primed to see the worst at every turn. Why wouldn't we be? At this point it's a pretty justified response. 

However, in this case it's unwarranted. Let's tackle Neo and Roman first. Yes, they're a decade apart in age and yes, there are some details that could, potentially, imply romantic interest on both sides. But they really are tiny and the novel confirms nothing. Indeed, the back of the book's summary says, "Just like every story, every friendship has a beginning..." So that's the focus here and all the ambiguous hints, importantly, happen after Neo is confirmed to be 18 years old. Roman takes her to a fancy tea shop only because he owes her. “It certainly wasn’t because he wanted to impress her or anything” (189). Neo blushes when he compliments her semblance. Twice Roman jokes “Don’t worry, it isn’t flowers” when Neo is opening up her parasol present (212). Neo also acknowledges Roman's looks at one point: “With his tousled orange hair, dressed like a street punk, he didn’t look much older than her. In fact, he was kind of cute” (184). The most intimate they get though is at the novel's end: “She leaned over and kissed Roman on the cheek. His face went red," though this is immediately followed by "It was fun to mess with him sometimes” (307). Honestly, the most overt "hint" towards a relationship is probably the title itself, a play on the 1953 romantic comedy Roman Holiday. But upon reading the novel, I think it's clear Myers chose that title only because Roman's name is, you know, Roman and the plot somewhat mirrors the idea of a reporter getting involved with a princess. Only in this case it's a criminal getting involved with a high society girl and "involved" just means a crime spree, not a romance. 

So is there something there? Maybe the start of something, if you're willing to read into it, but to me it comes across more like the two of them poking fun at social expectations — he's the guy so he "must" be getting the girl flowers; she's the girl so she "has" to kiss him on the cheek — rather than anything serious. Even if Myers had developed a relationship, Neo is both an adult and at least Ruby's current age, if not a year older, so if some fans want her to start a relationship with the 14-year-old farm boy housing her ancient headmaster, is a ten year age gap really where we're going to draw the line? I know that makes a lot of people uncomfortable — frankly it makes me a bit uncomfortable too, more-so because of the difference in their life experiences (Neo is still a student, Roman a long-established criminal) than the actual gap itself — but we should be wary about when personal squicks turn into unfounded, "This is a sin!" purity culture. And for the purposes of this conversation, the point is that there is no relationship. If anything, Roman is just as aware of Neo's age as the reader is. He initially thinks he's looking at a “little girl” only to quickly realize “She was also older than her diminutive height suggested, maybe about the same age as the Malachite twins” (168). But, as we'll get to in just a sec, Roman very much treats the twins as the kids they are too. Roman even refers to Neo as a "kid" until she makes it known she dislikes it (183-4). He drops the term, but that doesn't mean the mindset disappeared. 

As for the twins, they're the only other minors that Roman spends time with. Lil' Miss instructs him to act as their body guard while in hiding, which means he spends over a week living with them. Frankly? I think it's a really wholesome part of the novel — or as wholesome as the villains can ever get. That's when the girls get bored enough to steal Roman's hat, toss it around a bit, and beg to braid his hair. Myers does a good job of balancing Roman's bad boy attitude with a clear indulgence for them. He doesn't actively like the twins (who does Roman like besides Neo?) and ends up orchestrating a ridiculous plot to get out of "babysitting" them (another indication that he's well aware that they're kids), but he doesn't wish them any real harm. He even cares about them in his own twisted, villainous way. We get to see a moment where Roman tries to convince the girls to escape from a grimm, leaving him behind. We might have been able to write that off as Roman just saving his own skin in the long run — Lil' Miss would kill him if any harm comes to her girls — but there's no need to fake comfort: “Roman squeezed Melanie’s hand reassuringly. He needed her and her sister to remain calm” (52). As one of the other goons observes, “You’re bluffing. It’s obvious that you care about [Miltia], which means you’re up to something” (51). Much later, Roman's thoughts confirm this when the girls are older, more powerful, and trying to kill him: “He’d had to endure their dance recitals when they were little. He’d clapped for them at gymnastic competitions. Now they were trying to do a number on him... He didn’t want to hurt the lil' brats, despite everything, but he couldn’t let them take him down” (166-7). Really, I like everything about this. I enjoy how this humanizes and complicates Roman without undermining his status as a villain. I like the loyalty to their mother it shows in the twins that they'd turn on a man who was so involved in their childhoods. It's just fun to read about a badass bad guy trying to manage bored pre-teens with superpowers and a crime boss mom. Their relationship isn't something I expected from the novel, but I'm glad we got it. There's nothing here to imply the twins are uncomfortable with Roman, or that Roman is inappropriate with them. Anyone who balks merely at the idea of a grown man, quote, "babysitting" two young girls is working from bias and bias alone. 

There is, however, one inappropriate comment made by a goon and an assumption made by Miltia, both of which Roman refutes. First, the goon asks if Melanie is Torchwick’s “new girlfriend” to which Roman responds, “You know who it is... She’s just a kid, big man” (47-48). Later on, we get

“Cute,” [Roman] said. 

“Flattery’s not going to work on me anymore,” Miltia said. 

“I was referring to your moves, not you” (158).

Now, we could drag Myers for including such "jokes" and misunderstandings to begin with, but that's why I mentioned the Yellow Trailer at the start of this review. It doesn't feel right to single Myers out for something Rooster Teeth has already embraced, especially when he's the one working to mirror their original product. Yang deliberately toys with Junior and Junior willingly goes in for the kiss. Jaune blushes at older moms eyeing him up at the crosswalk. Nora tells Ren not to look up her skirt in the middle of a deadly fight. Neo and Cinder both go to Atlas in scantily clad outfits because it's more important for the women to look sexy than it is for the show to stay consistent about the dangers of the tundra. Much of RWBY has that frat boy energy about it. I'd be shocked if nothing snuck its way into Myers' work too. But Roman the pedophile who ogles the twins and manipulates a kid Neo? That just doesn't exist. 

Part Four: Déjà Vu, Anyone? 

I dithered about whether to include this section, simply because I don't want anyone to misunderstand what I'm trying to say... yet at the same time, I'm not entirely sure how to articulate the problem I have here. Or if I'd even consider it a problem at all. In the end, "déjà vu" is the best term I can come up with. I'm not saying that Myers is lazy in regards to plot and choreography. I'm definitely not saying he's plagiarized. What I am saying — the only thing I'm saying — is that there were a lot of times during the novel where I went, "Okay, we've seen this before." Whether or not that's bad I'm... not sure. 

Let's start broad. When the excerpt dropped I mentioned that Neo's situation sounded pretty very to Weiss' and I stand by that claim. Actually, having read the novel now, I'd say it's a LOT like Weiss' story. Neo is the daughter of an incredibly wealthy family, suffering from an abusive father, a more loving but absent mother, whose only freedom stems from her semblance and combat abilities. Alright, let's dig deeper. Like Jacques, Jimmy's abuse is on full display for the viewer/reader. I could give you a laundry list of examples, but here are just a few: 

Jimmy is frequently described as barely controlling his anger around Neo, “there was rage behind his shadowed eyes,” etc. (4)

There are times when she is "suddenly afraid" of what her Papa will do to her (35).

When Neo is taken home by the cops, they reveal that they didn't even know that Jimmy Vanille had a daughter. That's how sequestered she's been.

He and his wife lock Neo in her room when they go out, which means that when she starts a fire she had no way to escape, no one to open the door for her, no way to call for help (her scroll is engulfed in the flames). Neo ends up chancing a fall from the window. 

He comes very near to hitting Neo at one point before backing down. 

Later he drugs her and, again, locks her in her room. 

As said, I could go on. There are a few inconstancies across the novel that, frankly, I've come to expect of Myers' work and RWBY in general, which I bring up now because it messes with the abuse plotline a bit. There's supposed to be a shocking moment when Jimmy grabs Neo tightly by the arms: "Trivia stepped back, appalled. Papa had yelled at her, punished her, even ignored her over the years, but he had never hurt her before” (97). Except she’s forgetting that, at the very start of the novel, Jimmy grabs her by the ankles, pulls her out from under the couch, and proceeds to shake her upside down while her hand bleeds. I'd say that's a pretty intense, physical interaction, making squeezing Neo's arms fail to have the impact Myers was looking for. Similarly, when Neo finally snaps and throws her parasol at her father's face, it's because “The things she had claimed for herself were just more stuff her parents had paid for," meaning, everything she stole on a shopping spree her father made sure to pay for twice over. It's not the ableism, abuse, isolation, and the like that Neo reacts to, even though she clearly struggles with those throughout the novel as a whole. So there are disconnects at times, but the point is this man is an abusive asshole to his daughter until she learns to literally fight back. Sound familiar? 

What particularly struck me was that both men have built their abuse around how the family is perceived. Both are obsessed with their image and how their daughter does or does not serve it. Jacques yelling at Weiss for speaking out about Beacon could be swapped with Jimmy yelling at Neo for not speaking at all. Jacques has maintained his wealth by exploiting the faunus in dust mines and getting in deep with criminals like Watts. Jimmy maintains his wealth by getting involved in illegal dust trades and getting in deep with criminals like the Xiongs. Both try to justify their actions in the name of perpetuating both that image and that wealth: “the things I have to do for that money” (5). Both lock their daughters in their room when they can't control them anymore. Both keep portraits in the hall that “showed her and her parents posing together as if they were a happy family,” a symbol of this familial deception (271).* Both have more compassionate, terrified, but ultimately enabling wives that, the story reveals, have secretly been spying on their husbands this whole time. Just as Willow set up all those cameras and gave the footage to Weiss, Carmel is using the camera in her pin to acquire information on Jimmy, with plans to use it to help Neo. By the time Neo's solution to the "What now?" question was to fly Roman back to her mansion and drink tea for a while Volume 8 style, complete with a Sun-Blake style shock that this is her house — sure you don't mean the tiny one behind it? — I was honestly wondering just how far we were going to stretch these parallels. I don't want to make it sound like these characters are identical (Carmel isn't an alcoholic for one thing)... but they share enough characteristics and distinct details to feel, well, a little weird. It also feeds the fandom's question, "Doesn't RWBY know any villain backstories except abuse?" 

*(As a side note, I initially thought the book's cover, showing a young Neo with two brown eyes, was a mistake. Turns out her parents had the painter get rid of her pink eye because they were ashamed of it, so kudos to the cover artist for keeping that consistent!) 

The similarities between Neo's backstory and Weiss' are absolutely the most obvious example here, but there were two other, smaller déjà vu moments I wanted to toss out, both involving combat. Myers has, at times, repeated fights almost exactly in order to cover two character's perspectives. I get the need to rehash plot in that manner, but he tends to focus on the exact same details back to back, making for a boring read. That incredibly nit-picky criticism aside, it means that I was already aware of combat moments that I'd seen before, not just in Roman Holiday, but RWBY in general. Does this description sound familiar to anyone? 

Neo hopped up lightly onto the broad blade. Rin tried to shake her off. Neo vaulted away just as the Huntress activated the flames, somersaulting over the Huntress. She planned to land behind her and whack her with her sword, but Rin turned and kicked high while Neo was still in the air. The Huntress’s foot connected with Neo’s stomach, knocking the wind out of her and knocking her clear across the room (199). 

If it's not familiar don't beat yourself up because it really is a minor similarity (and, in fairness, there's only so many ways you can write combat...). But take away the swords, replace them with a parasol and scythe, and you've basically got Ruby and Neo's interaction in Volume 8. Ruby tries to land a hit on Neo, she turns, kicks high while Ruby is still in the air, and she flies across the platform, knocking the wind out of her. We've also seen the 'Landing on a broadsword to get close to an enemy' bit with Tyrian and Qrow. But again: minor. What's a far less minor repeat of combat techniques is seen between Roman and Chameleon. Basically, Chameleon is Ilia, minus being a faunus and thus framing her abilities as a difference she's shunned for. Her semblance allows her to camouflage at will, giving her a major stealth advantage in a fight. Which means that when she goes after Roman, things get exponentially harder when the lights go out. But then it's better for Roman when a fire starts. He beats Chameleon and she helps him in the end because she's always been in love with him, even though Roman didn't love her back. If you're going, "Hey, that's the basic plot of Blake and Ilia's fight!" then yeah, me too.

It's not the whole novel. I don't want to make it sound like Roman Holiday is just a stitched together version of previous RWBY content because it's absolutely not. At the same time though, there were enough major similarities — and enough smaller ones that started standing out as a result — for me to raise an eyebrow. As said, I'm not entirely sure what to make of this eyebrow raising, or even if I want to label it a criticism at all. You all can decide what you think. 

Part Five: Wait, Now There's Not Enough RWBY? 

Yes, I contain multitudes and contradictions. As does this book. Even while Roman Holiday repeated some pretty familiar RWBY elements, there were times when the novel didn't feel very RWBY-ish at all. Part of the problem is that it lacks what's arguably the most crucial part of RWBY’s world building: battling grimm. Safe behind the walls of Mistral and Vale, we only see one grimm in the whole story, a captured Capivara that one of the crime lords uses to dispose of people who have displeased him. Roman and the twins barely get more than a few hits in before it escapes upstairs, leaving the kill to happen off screen (and why the grimm ran is another problem entirely. Again: we'll get to that). So although there are plenty of battles between people throughout the story, it doesn't feel quite like RWBY to me without the show's first and most significant antagonist. 

More than that though, Myers goes back and forth between emphasizing RWBY's unique, cultural elements and putting them aside entirely. When he's including them, it's great. We learn that there's an old saying “You can’t put the moon back together” which yeah, of course idioms would develop around the shattered moon (151). Honey Wine, a night club singer, paints her face with red dust as a symbol of both wealth and her dare-devil nature — one stray spark and the dust would ignite, blowing her and potentially the club up too. Yeah, of course people would come up with foolish, ridiculous ways to use this resource if they had it. During one of Neo's lessons, a passage for diction practice goes like this: 

The gruesome Grimm grew greedy. Get that greedy gruesome Grimm, Gregory. Go, Gregory, go. The greedy gruesome Grimme gorged Gregory. Good-bye, Gregory, Good-bye. The gory, greedy Grimm gave a gruesome grin (175).

Yeah, of course the elite would develop silly lessons using grimm as examples! We've got math problems about Johnny and his dish soap (yes, I'm quoting the Vine), so why wouldn't this world use grimm in the same way? Especially those who are rich and privileged enough to never encounter one. 

When it's good, it's good. When it's not... I don't want to take Myers to task for this because, in his defense, much of what makes the book feel generically modern has been seen in the show. Like computers. Or video games. Still, when these things are mentioned frequently it undermines the fantasy/sci-fi core, especially when Myers keeps the standard terminology. Why is a phone called a scroll, but a TV is still called a TV? Why are cops patrolling normal sounding malls with normal sounding guns? Neo sneaks out at one point and it struck me that, up until she uses her semblance against a bunch of bullies, there's nothing to distinguish this outing from a realistic portrayal of an average girl getting a milkshake. None of this is helped by the times when Myers slips on the terminology that is unique. Roman describes what he steals as "cash" rather than "lien" (105). One moment we're getting phrases like “She wasn’t the brightest crayon in the box," the next it's "or rob a convenience store for a six-pack of Dr. Piper” (44, 239). So is RWBY a world that has all the same products we do — crayons and TVs — a world that's different, but only because the author is making it different in a humorous way — Dr. Piper — or a place with a unique culture and history — scrolls, lien, shattered moon idioms? It's a challenge every fantasy writer has to face. Can you have a French braid in a world without France? Some will say no, others will bank on the reader's understanding that you can't change up every aspect of our language. You'll drive yourself nuts if you try. So I'm sympathetic, but it's nevertheless noticeable when Myers seems to remember that he's writing a fantasy world, tossing in "bullhead," "oh my Gods," and "thank the brothers" in a single scene, as if he’s making up for the whole chapters where that work is missing. Take out the grimm, take out semblances for a good chunk of the plot (since Roman doesn't have one), get iffy about the details... and you're left with a story that sometimes feels more generic Young Adult than it does RWBY. Enjoyable Young Adult, but a little lackluster in the world building all the same. This isn't a book where girls turn into rose pedals, lamps grant wishes, and teenagers fight giant mechs. This is a story where a guy uses a cane to beat people up, a girl uses illusions to shoplift, and the final confrontation is basically a shoot-out. Not bad by any means, just not the level of insane "The gun is also a gun!" nonsense that has become RWBY's brand. 

Part Six: Stupid Plots (and Strange Details) 

If Roman Holiday lacks a lot of that RWBY insanity, then that means nothing stupid and ridiculous happened, right? Lol of course not. The novel suffers from what I think of as the, "Well that's convenient" problem. In its immense defense though, it's nowhere near the level of, say, Amity suddenly being ready to go. The world's rules do not bend for Neo and Roman... they just wind up experiencing things that can test the reader's sense of disbelief at times. For example, how likely is it that two huntsmen will waltz into a bank in the middle of Roman robbing it? Very likely, apparently. Why not just have them respond to a silent alarm? Well, because of reasons we'll tackle in Part Seven, so we're left with the iffy coincidence of two trained professionals being at the right place at the right time to show the reader a fight. It's a fun fight though — love the use of dust in it — so we'll let that pass. After all, if coincidence serves the reader's entertainment, aren't they ultimately a good thing? 

Far more frustrating in my opinion is when disaster is illogically postponed and characters are written as incredibly stupid in order for a protagonist to get by. In this case, Neo. One of the major reveals of the novel is that her father has been stealing dust from the Xiongs and hiding it beneath Neo's bed. We're supposed to believe that a moment of Lil' Miss shooting into her room sets this volatile dust off, resulting in an explosion that kills both of Neo's parents (side note: she intended this), but the dust didn't blow up when Neo started a fire in said bedroom, a fire that then proceeded to consume the entire top floor? ...right. 

When Neo isn't conveniently surviving non-explosions, she's duping people left and right with her semblance, despite the fact that she, of course, can't speak. This trick becomes less and less convincing as the novel goes on. First, Neo drugs her tutor (that poor woman) and pretends to be her to escape the house, holding a one-sided conversation with her father as he walks her to the door. He finds nothing strange in this. Later, Neo sneaks back in by pretending to be her mother and though this time her father catches her, it's because “If you want to know whether someone is lying to you, it’s all in their eyes” (70). Not because, you know, his "wife" inexplicably won't respond to him verbally. Finally, Neo takes the place of Xiong, traveling with his assistant for over thirty minutes, and never once do any of the goons question what's going on with their suddenly mute boss. This includes interactions like Neo holding out her scroll and just staring until the assistant gets that she should follow the GPS, and the need to ignore the fact that Xiong, characterized as quite talkative throughout the novel, is suddenly quiet as a mouse. Neo's muteness should have been a severe limitation on her ability to masquerade as others, not something the story outright ignores in an effort to move the plot along. 

The novel is peppered with such coincidences, small inconsistencies, and just downright strange details. Roman notes that the police haven't arrived to his robbery yet, only for the next sentence to say they were swarming in. Later he "pulled on his bonds, testing whether he could slide one of his hands free, but he’d been tied up real good” but then again, a few sentences later, “He craned his neck to try to look out the front window. He managed to unbuckle his seat and hop to the front” (259). Like forgetting how rough her father has been in the past, Trivia bemoans the fact that she can't wear anything that Neo would, something in pink and white, for example, forgetting that her former "adventuring outfit" consisted of a white tank-top and white sneakers with pink hearts (26).* She also claims that the Roman illusion she sends running from the twins is her first long-distance use of her semblance, even though she just got done recalling the time she created a butterfly and watched it fly until it was "out of sight" (170). The novel writes out Neo's texting as dialogue even when someone else isn't speaking it aloud — something I initially made a note to praise it for. This is her version of "talking" after all — only for the texts to suddenly become bolded halfway through the book. As for strange details, Myers seems to like giving his antagonists a lumpy food to indulge in — Lil' Miss forces Roman to eat her cottage cheese, Xiong oatmeal with the consistency of cement — and Roman, quite oddly, decides to cover his spider tattoo with a grinning pumpkin. (Were they a thing in A Clockwork Orange? It's been years since I read it...) Neo learns to fly a plan by watching Xiong's assistant start it up and then, I kid you not, pulling up a How To article. Perhaps my favorite bit though is when Roman reveals his master plan to gain a monopoly on Vale's coffee industry and successfully does so by attacking one (1) warehouse. This is treated with the utmost seriousness. 

*(Second side note: the color brown is tied closely to Neo's backstory; to the person her parents wanted Trivia to be. She has her brown hair, only one brown eye, is introduced in a brown dress, wears a brown blazer and pants that her parents bought, and attends Lady Browning’s Preparatory Academy for Girls, the school meant to turn her into a 'real' lady.) 

That last bit though, the coffee heist, feeds into my biggest problem with the book's plot. @superzerokarasu​ and I have been talking about this the last two days, acknowledging it as one of the book's bigger flaws. (And, Superzerokarasu, if tumblr actually tags you, feel free to ignore this absolutely massive wall of text. I just wanted to give credit for the conversations 👍). Basically, towards the end of the novel it is, quite randomly, revealed that there is an important Room at the academy. Important enough that the story capitalizes it — that's not my doing. We haven't heard at thing about this Room before but Neo, apparently, has been trying to sneak into it for weeks. She knows Lady Beat is hiding something in there. Did we know this, especially since we've spent half the novel in Neo's head? Nope! No sooner has this mystery been introduced than Neo is solving it, much like how the group solves the problem of using Ambrosius moments after his rules are explained. Neo throws up an illusion of an empty hallway, picks the lock on the door, and discovers that Lady Beat has been spying on everyone who ever attended her school through the small pins students and graduates wear. This means she has access to private information about important people all over Remnant. Shocking! Neo reacts to this discovery by tearing the hard drive loose, there are some confusing suggestions about how this information will save them from Lil' Miss and Xiong, and then Roman sends the information to a news station, revealing all. Thus ends the world-wide conspiracy we just found out about. 

It's muddied. It's ridiculous. It, most importantly, comes out of nowhere. There's absolutely no buildup to this mystery, just a sudden announcement that it exists and, wouldn't you know, here's the conclusion. Superzerokarasu is correct that this problem could be solved by increasing the academy sections and fleshing this mystery out. I'm of the opinion that it could also be solved by eliminating it entirely. Why in the world do Roman and Neo need to grapple with a world-changing reveal, especially when the rest of the novel is so tame? Roman shakes money down from other small-time crooks. Neo learns diction and combat at school. Roman leaves the Kingdom to avoid Lil' Miss. Neo sneaks out of the house and goes on shopping sprees. She saves him from a street fight, he takes her out to tea, they proceed to rob convenience stores. Their conflicts take place on such a small scale that this conspiracy plot feels ridiculous compared to the rest of the novel, even if it did have better setup. In contrast, their big coffee heist likewise feels ridiculous for how small it is. As a duo (not Neo as an individual, now that she's involved with the Relics and such), they operate in a pretty specific niche of small crimes conducted for villains with large plans. Given the number of times the novel brought up that Roman should start stealing dust, I foolishly thought that the novel would conclude with them stealing dust. Why coffee? Why conspiracies? Why shootouts between two crime bosses on Neo's front lawn? Let them pull off an epic dust heist together, tying it back to Neo's family since her father is already neck-deep in the illegal dust trade, all of it setting up the characters we'll meet in the webseries: street crooks now stealing dust for Cinder. That's their specialty. Why not start that specialty here? 

Instead we get a bunch of hurried plot points that, of course, will have no bearing on the first eight volumes of the webseries. Which brings us to... 

Part Seven: Roman Holiday's Impact on RWBY

Quite obviously, this isn't a novel that exists in a vacuum. Roman Holiday, given that it is presented as an official Rooster Teeth product, is likewise meant to fit into the already established canon. This has been a challenge for Rooster Teeth in the past — important lore winding up in card games, mischaracterization in other novels, worry about how the upcoming game will re-tell events we've already seen — but has Roman Holiday perpetuated that trend?  

Well, yes and no. Which is never a particularly satisfying answer, but in this case there are both aspects that are working and aspects that aren't. Let's tackle the good first. 

Myers includes a lot of details throughout the story that help fill in RWBY's gaps. In this case, it's not information the viewer should have gotten in the webseries in order to have a complete understanding of the situation, but rather things that simply help connect the two works together, adding depth to what we already know. For example, there are those before mentioned times when characters suggest that Roman start stealing dust. “You aren’t the first person to suggest that. Maybe I should look into that...” (216). I do think it's a missed opportunity not to make a dust heist the climax of the story, but that doesn't erase the fact that this still functions as excellent setup for the webseries' premiere. We know RWBY opens on Roman robbing a dust shop. Now we have a better sense of how and why he got into that line of criminal work. 

We likewise get to see the origins of Neo's parasol, not just how she got it (Roman), but also what led her to wanting that kind of weapon in the first place (struggling with the heaviness of swords, getting attached to a parasol she stole, impulsively using it to attack her father, escaping the fire with it and realizing that the ability to float from high places is an asset). Something else I particularly like is that Myers was careful to explain how Neo became so adept at fighting. According to the webseries, there are only three paths you can take: go to combat school like Ruby, live on the streets like Roman, or live outside the Kingdoms like Blake. Neo, as a rich girl kept within high society, doesn't fit any of those models, so Myers introduces an Academy that seeks to train young women for any eventuality, even an attack. Neo learns how to smile, sew, cook, courtesy... while also taking classes in acrobatics, combat, ballet, and fencing. All the girls train with a combat instructor — “I know this isn’t a combat school, but by the time we’re done, you will be as skilled as any Huntress in Remnant” (201) — and, not only that, but she undergoes some pretty intense testing. Balance is taught by “balancing on a tightrope twenty feet in the air, with no net below you. Lady Beat believed in ‘though love’—without the love part” (146). It's a teaching method that makes Ozpin's cliff test seem a little less insane and it highlights one of those fantasy elements of RWBY. When your students possess aura that can save them from a twenty foot fall, it's slightly more reasonable to include that as a challenge. So when Neo starts following Roman around, it doesn't feel off that she can keep up with him. She's been trained, has practiced her semblance alone, and gets additional tutoring from Roman himself. Myers neatly dodges the question of how a non-Huntress and such a privileged girl — unlike Nora or Cinder — became to be as talented as Neo is. Privilege actually bought her that knowledge, which Neo then combines with Roman's street smarts, making her the formidable fighter we know and love.  

However, for every nice tether there is between Roman Holiday and RWBY there's a moment of worldbuilding that messes with our sense of the webseries. Or at least raises some pretty big concerns. 

Given that we just came off of Volume 8, it's no surprise that I read the novel with an eye for hints about how these future events — the destruction of Atlas, evacuees in Vacuo — might impact the rest of Remnant. What Myers gave us... doesn't look good for RWBYJNOR's decision, or the theme Rooster Teeth was going for in Volume 8. Meaning, the show took on a very black and white view by the end of the Atlas arc. Ironwood is an irredeemable bad guy, Atlas is full of racist trash and deserves to sink, the heroes made the best decision possible given the circumstances. Myers' novel introduces some nuance that, sadly, doesn't serve that black and white view well. He describes Mistral as, frankly, suffering the exact same problems as Atlas. “The city elevator didn’t come down this far, to keep more of a buffer between the haves and the have nots... people at the base of the mountain had no business topside” (10-11). Sounds like the sort of divide between Mantle and Atlas, huh? With the exception that one elite is stationed on top of a mountain instead of a floating city. It's a class issue Neo confirms as a kid when she sneaks out to the lower districts, thinking that, "she was never, ever allowed out alone. ‘For your own safety,’ they said” (25). Rich, racist elites who think themselves better than everyone else isn't an Atlas problem, it's a Remnant problem. RWBYJNOR solved nothing by leaving the place behind (and having one citizen hold hands with a faunus) and the fact that the story acts as if things are better now that Atlesians can’t have picnics on a floating city is... a problem. We already knew RWBY struggles with its racism and classism themes, but moments like this continue to add fuel to the wildfire. 

Similarly, the novel spends a not insignificant amount of time referencing Atlas as the technological capital of their world. We knew that already too, but hammering it home now, post-Volume 8, emphasizes the damage the group has done. No Atlas, no technology. Pretty much any technology, given how often it’s said to come directly from Atlas, or cloned from Atlas originals. 

Regarding the evacuation, Myers gives us a moment where Roman outright rejects Vacuo as a place to escape to: “Vacuo was a good place to hide, but the desert was probably one of the few fates worse than Lil’ Miss. And while there was a thriving criminal element, it wouldn’t be particularly welcoming to a newcomer. There was no future for Roman there” (88). So the desert is a fate worse than a crime boss and Vacuans are so unwelcoming one individual won't risk going there... and now our heroes have dumped an undetermined number of evacuees in that desert, heading towards a Kingdom that doesn't want them. Obviously Myers needs to come up with a reason for why Roman ends up in Vale where Neo is, but doing it this way just highlights so many of Volume 8's problems. Specifically, that the group made such a world-altering decision when it arguably was no longer necessary and, more importantly, did so without once considering the consequences that seem obvious to everyone else in Remnant. Vacuo is the last place anyone wants to escape to... so why was that the heroes' first choice? "Because the show hasn't gone there yet" isn't an answer. 

There are a couple smaller problems throughout — muddying the waters between semblances and magic again; emphasizing how many people unlock their semblances as kid and rely on their aura to get by, bringing up the question (again) of how Jaune was so ignorant — but I just want to cover two more issues here. 

The first is what I mentioned above about the one grimm the novel has. Suffice to say, the grimm ignores the three fighters in front of it (Roman and the twins) and runs off because... well...

“Grimm are drawn by emotion. You never controlled it. It killed your enemies because most people you drop in here are going to be afraid. They won’t be able to fight back. But as far as I can tell, these girls don’t feel anything. And I’m not afraid to die... Anger can be a more powerful emotion than fear” (54-5).”

Let's tally up the problems with this speech: 

The idea that Roman experiences no fear despite being cornered by a massive grimm, in a tiny room, in enemy territory 

The idea that an ability to fight back increases the chance of the grimm running off to pick other targets (if that were the case, the group would never finish any fights) 

Claiming that they're also left alone because the twins "don't feel anything" which is obviously ridiculous  

Reframing Roman's lack of fear into, specifically, not fearing death. Again, a grimm doesn't care whether you fear death or no

Saying that the anger of the boss all the way up in his office is a stronger draw than the three people currently attacking the grimm

It's just a lot of nonsense, bending one of RWBY's most basic rules to give Roman a cool-sounding speech. Cool provided you ignore what the speech is actually implying, that is. Why bother with this? Just let the grimm break down the door halfway through the fight, moving the fight into a new space with new people causes chaos, Roman either escapes then, or he kills the grimm first and escapes afterwards. Better, in my opinion, to give the story a single grimm kill than introduce a bunch of philosophical complications about how much these characters definitely don't feel fear and one man's anger is suddenly a grimm magnet. It's just a strange scene and, looking back, the only scene where I really went, "What?" As evidenced by this entire review, I have problems with certain aspects of the novel, but none actively made me question what in the world Myers was trying to accomplish. This moment is the exception. 

Finally, I'd like to briefly mention the ways in which Roman Holiday messes with our understanding of the huntsmen profession. Again, this is nothing new. From Blake and Yang shrugging off Adam's death, to Weiss asking if she can arrest her father, the true purpose of the job seems vague, especially when you toss in what they're legally allowed to get away with. At first, the novel seems to support the idea that huntsmen are responsible for defending the people from both grimm and criminals, especially in the cities where walls do most of the work of keeping grimm out. Roman worries that huntsmen will show up to put a stop to his robbery, there's a bounty for him “posted on all the Huntsmen job boards," and then, later, two huntsmen do show up to his bank heist and try to stop him — that coincidental timing (176). "It’s kind of refreshing to fight a bad guy instead of a Grimm for a change," says one, implying that their primary focus will always be grimm, but they're also not going to ignore criminal activity. I get that. I buy that. It fits with what else we've learned about the job from the webseries: students attend school specifically to learn how to fight grimm, but they're capable — and expected — to use those skills for the people's benefit, no matter what form that comes in. Hence, jobs like Jaune acting as a crossing guard. It works.

....Aaaand then Myers blows that understanding right out of the water. 

“[The huntsmen are] being fined for destruction of public property and reckless endangerment. This isn’t the first time they’ve been reprimanded for using excessive force and gross misconduct. The Vale Huntsmen Guild reportedly is considering suspending their licenses (118).” 

So wait, never mind, apparently huntsmen aren't supposed to stop bank robberies that they walk in on. Or at least, they're not supposed to stop them using "excessive force" and resulting in the "destruction of public property." Problem is, there's no way to battle another fighter of Roman's skill without doing property damage and, potentially, putting civilians in danger. The strength of Yang's punch blows small craters into the floor. Weiss uses dust that causes minor explosions. Ruby swings her scythe in such large arcs she could easily hit someone if she's not paying attention. Within the context of RWBY's powers, the huntsmen here didn't use "excessive force" because aura, semblances, dust, and insane weaponry are all staples of combat. So... what are they meant to do instead? Find out if Roman is just a normal dude and, if he's not, back out like, "Oh sorry. We can't fight someone our equal because that would require, you know, fighting. We'll wait for the police to capture you. They'll have a much better time without training, semblances, or any other combat resources, I'm sure..." 

This single excerpt sends us right back into the "Huh?" territory. What are a huntsmen's responsibilities then? What are they legally allowed to do? And why are these expectations so inconsistent across the franchise? I know the answer here is that the group was pardoned by Ironwood, but it still seems absurd that we watched them steal military property, attack an official, cause a major grimm attack, and actively hide from the authorities... and all that's presented as fine. But trying to stop the guy currently robbing a bank? Well, that’s a suspendable offense. And we know this was taken seriously because Roman runs into one of the huntsmen later, a Roch Szalt, and we learn that his license wasn't just suspended, he lost it entirely. These side characters are out of their livelihood for defending the people while RWBYJNOR gained licenses for endangering them. There's something fundamentally wrong with your world building when your protagonists primarily get by on such massive inconsistencies. 

Part Eight: The Last Section, I Swear

This is another aspect of the novel that I really hesitated over including, just because I do think there's a line between legit criticism and unkind nit-picking. In the end though, enough of a trend emerged that I thought I'd toss it out, especially since I've recently been pondering the question, "How does RWBY treat its women?" The answer should be obvious, right? This is a show about four girls fighting evil! Yet as the webseries continues, fans are noticing more and more divergences from that initial premise. Like creating a world where women are almost never in the primary positions of power. Like giving Jaune and Oscar the active, plot-forwarding scenes that should belong to Ruby and her team. Like that frat boy mentality I mentioned earlier on. The purpose here isn't to analyze that aspect of the webseries, I simply wanted to lay out where my thoughts were while reading Roman Holiday. 

The disclaimer? Neo is great. The strange intersection between her identity and her semblance aside, I think she's entertaining, well-rounded, and the fact that she is given not just half the book's chapters, but that focus mentioned in Part One, resulted in a well-developed character. However, outside of Neo the women are frustratingly built around the same thing: sex appeal. Honey Wine is the club singer whose semblance lowers customers' inhabitations, acting like a Remnant version of a siren. The twins — despite those pedophilia rumors about Roman proving unfounded — are the butt of girlfriend/"You're cute" jokes, drawing attention to their developing looks more than their combat skills, strategies, etc. Both Lady Beat and Carmel, Neo's mom, possess that older woman charm expected of high society ladies. They're dangerous because they can acquire information and they acquire that information by looking the part: pretty smiles, fine clothes, figures that catch the eye. Even Lil' Miss, an established character with a lot of power at her fingertips, isn't exempt from this. When Roman first meets her he observes that fashion is clearly a part of her strategic mind, “a plunging neckline and purple corset distracted Roman even more” (19). Distracted, meaning, that Lil' Miss deliberately makes herself look hot so all the straight guys will lose their heads. 

It's a bit more heavy-handed than just some over-used archetypes though, particularly when it comes to making Roman the guy that every girl wants — even when that's just him assuming they want him. Lil' Miss, again, suffers that treatment. “'Is she flirting?' he suddenly wondered. He hadn’t ever considered that she might like him, but if that was the case, he could use that to—” (57). In a similar situation played straight Chameleon, Roman's peer, is introduced with the statement that “She considered him a friend, and plainly wanted more than that" so Roman "continued to string her along” (45). It's that Ilia/Blake dynamic, just with added cruelty and a gender setup that carries completely different implications. Even the minor characters aren't safe from Roman's charms. Lisa Lavender — you know, Remnant's reporter? — receives flowers from Roman after she labels his robbery “one of the most brazen displays of lawlessness” she's ever seen (117). It's not presented as the villain being creepy though. When Roman contacts Lisa directly, we're given a verbal joke about her maybe interest. She loves... the ratings he brings in. Just the ratings. Of course. 

It's worth noting that Chameleon isn't just reduced to a silly crush whose love allows Roman to escape, she's also the character who "has" to be naked in order to make the most of her semblance. Despite writing in an Atlas cape that blends into various backgrounds, Myers still emphasizes the absolute necessity of this woman fighting naked: 

“She didn’t wear much clothing these days, both because it thwarted her natural camouflaging abilities, and because when she chose to show herself, it could be quite distracting... she stripped for added stealth—it wouldn’t be the first time” (81, 85). 

It's a writing choice that I personally despise. And make no mistake, it is a choice. In a world with magical abilities and futuristic tech, there's no reason to make the presumably young woman — we're never given an age, but Chameleon is written to be particularly naïve — getting naked in front of others, especially a man that is stringing her along. Clothes only "thwart" a magical ability when the author says it does. Why can't semblances make outfits camouflage too? Because then there wouldn't be an excuse for the hot women to strip. 

Particularly for more important characters like Lil' Miss or Lady Beat, these aspects are not the sum total of their characters... but there's enough there to be wince-worthy if you're already sick of such trends; already keeping an eye out for what RWBY writes in regards to gender. I think a good way to summarize Roman Holiday's idea of feminism is when Neo is staking out a coffee shop and Roman asks her to bring him a coffee when she comes back. She returns with an empty cup reading, "Get your own coffee." It's clearly meant to be this empowering moment — how dare the man ask for food like she's some servant! — except it's ruined by the context of the situation. Namely, that Neo is already at a coffee shop. And Roman isn't rude about asking for one. And they've already traded presents in the form of a crazy expensive parasol for her and a new hat for him. Asking your crime partner, who just happens to be a women, to pick up a coffee on her way home when it’s clearly not a hassle, is not the outdated insult Myers seems to think it is. And that's what a lot of these choices are: details that don't break the novel by any means, but come across as out of touch none-the-less. 

Part Nine: The End (Okay, This is the Final Section) 

The novel concludes with Roman and Neo flying off together, avoiding the authorities, nothing they have to do except "set the world on fire" (208). It's a rather bittersweet ending given Neo's certainty that no one will ever catch them because we know, eventually, Roman will die and Neo will be left alone. I quite like ending things on that optimistic note, both because it fits their current mindsets and because it adds that extra, emotional punch for the reader. Their story isn't done... but it will be soon. 

And thus ends my review as well! Review? Analysis? Little mix of both, I suppose. Hardly the most succinct thing I've ever written, but what did anyone expect. Final thoughts? I still liked the novel. Despite everything above — despite re-wading through eight major problems I had with the text, ranging from minor preferences to arguably massive mistakes — my overall takeaway remains, "I'm glad I read it." It's been a long time since I actively enjoyed a RWBY story; where my entertainment and appreciation of the writing outweighed the problems I had with it. I know I'm far from the only one currently dissatisfied with the canon, so if you're looking to re-ignite some of that old, RWBY spark? Give Roman Holiday a try. 

And, of course, thank you for reading! 💜

[someobscurereference]

For one: whenever the concept of the Nohrians meeting the young trio comes up, my first thoughts are 1) Inigo being cripplingly shy and terrified of Xander 2) Severa being Extremely Unreasonable and Aggressive especially toward Camilla and 3) Owain gravitating toward Elise because she's reminiscent of his mother, because he's a mama's boy who probably lost his mom very recently and that's pretty fucked up!!

That being said, I'm screaming at the idea of Owain gravitating toward Elise because mother, Xander because cool sword, and Camilla because cool armor, and Not Trusting Leo because he's a Dark Mage and Dark Mage Means Plegia Means Grima Means Evil (almost always) and Leo being so upset about it. It turns the tables entirely, where Odin was originally the one who thought both Leo and Niles were so cool and they thought he was a weirdo idiot until he proved himself, now he thinks they're creepy and Evil and have to work for his trust. And I will always love the Nohrians realizing the trio were Fucked Up Kids and the idea of them watching the three of them take down a faceless with Brutal efficiency because of how much more dangerous Risen were...I'm so into this. AND!! The trio fucking hating each other!! They're so used to them being Best Friends and Inseparable and understanding each other on a whole different wavelength. And now? Sev and Inigo aren't very kind toward Owain's dramatics, Sev and Owain are Bothered by Inigo's flirtations, and Severa is just so harsh with both of them (and most people). Of all the people they could be stuck with, they would Not choose each other. I'm rambling but I'm so into it I'm so so into it. One of the previous asks you linked spoke a lot about Inigo, but if you could talk a bit more about Severa and Owain? Especially if their adult selves were involved with their lieges and partner retainers and how different the dynamic is now and the way they each react when realizing the trio went through something so clearly screwed up and beyond even what they've seen

(prev ask) Ayyy, glad you got a kick out of all of that, lol. And yes!! Leo Trio origins reversed!! With Niles and Leo being the ones who have to prove themselves to Owain instead of the other way around. And the Trio not getting along!! They're 100% there to save each other when they think they're in mortal danger, but as soon as they realize they're not in Plegia? Don't touch me, don't breath on me, don't look in my direction, any of you. Owain & Inigo can't be alone in a room together or else they'll scuffle, Severa stomps away whenever Inigo tries to compliment her, nobody wants to talk to Owain, etc.

Also sure! I spoke a lot about Inigo in that last ask because I wanted to be clear about what I meant with the shyness thing, but for Severa & Owain...

I don't know if they would have been in romance with their lieges before this! I obviously ship the royals & their retainers, but I don't ever see the appeal of that dynamic in deaging fics? I get the idea of like "oh, this is a new side of my partner I've never seen before," but the deaging part is such a huge part of the plot that I don't really see the benefit to that dynamic in these types of fics.

But just in general! The friendship/platonic shift!

I mentioned before about Camilla trying to dote on little Severa but struggling because Severa rejects her So Hard, lol. In general she'd want to dote on Severa because of her personality and how Severa is a tiny version of her beloved retainer, but the more it becomes clear that Severa has issues (especially re: family, which is a major reason Camilla feels the need to dote on Corrin), the more she wants to spend time with her and make some happy memories with her. Which makes Severa's rejection of this attention even stronger bc who the hell are you to presume you know her? And also you're not her big sister/mom/whoever.

Eventually, I almost feel like Camilla would?? I don't want to say "give up," but eventually you're going to get more flies with honey than vinegar. By which I mean the less Camilla tries to push the relationship, the more open Severa might be to spending time with her. But I'm not sure Camilla would get to this point within the timeframe of the Trio being deaged! I think this would take many days or perhaps even weeks to figure out. If the Trio return to normal before this, I think Camilla might feel different (Hard to say how... maybe guilty??) about the way her Selena dotes on her and wants her attention all the time vs little Severa rejecting her. But!! If the Trio stay deaged for a while and Camilla learns to stop pushing the relationship, Severa may slowly grow to approach Camilla on her own and may then be open to being doted upon once they understand each other more (bc she canonically wants all the foods and fun stuff Camilla is offering; she just wants it from someone she trusts. And primarily from her parents ((see: awakening supports w/ parents)), but they're not here).

tl;dr Camilla would have to go against her doting instincts if she wanted Severa to get comfortable with her. Otherwise Severa would avoid her/take advantage of the things Camilla is offering while not wanting to be near her very much.

Re: Beruka!

Unlike Camilla, who has a lot of sad and sympathetic feelings for Severa, Beruka really leaves feelings out of it. Which is probably to her benefit in this scenario, as she's approaching Severa's trauma's from a logical (perhaps even detachedly relatable) standpoint rather than sympathetic. She's more direct than Camilla, so Severa might be a little more comfortable with her, just because she knows what to expect.

Severa, for her part, may even seek Beruka out once she knows they're partners because (1) she wants to know what sort of person her future partner is and (2) she wants to prove that she's the better retainer than Beruka. Which of course she can't do because (a) Beruka would never compare them like that, nor Camilla and (b) Severa is younger, more hotheaded, and less skilled than her older self, so anything she tries to prove now, she'll probably fail at and will blame on her older self having more experience. This competetive spirit may start as an inferiority complex thing, but with Beruka never really fanning the flames, Severa may eventually calm down about it and just feel more driven to get better on her own/respect Beruka as her partner (sort of like her Cynthia Supports in Awakening, though a little different).

Leo & Owain, I already talked about. Owain will immediately take note of the fact that Leo & Niles are his future lord & partner, which he is very curious about, but once Xander, Camilla, & the other very cool people with melee weapons come into the picture, he's very drawn to them, which makes Leo jealous, lol. Leo dedicates himself to "solving" the deaging issue, using this as an excuse so he doesn't have to spend time around Owain and get compared to his "cooler" siblings. HOWEVER, joke's on him bc the fact he's avoiding Owain means Owain doesn't get the chance to quiz him even more and tell him about how cool Brynhilder is. When this finally happens, Leo feels incredibly foolish for trying to show off for Owain & avoid him in turns. Owain, meanwhile, may or may not have ever picked upon on the fact Leo was feeling weird about him at all (although he will admit he felt nervous around Leo at first bc Pelgian Mage Memories and had to take time to get over that).

Niles is a little hard to consider because I actually think?? He'd be good with young/immature folk when he's genuinely trying to be? (See: Niles's interactions with Elise & Nina). However, he can also be quite cruel to people who don't really deserve it (See: Mozu C & B supports) despite having a motto of only insulting "people who deserve it," (Peri Support). So!! I think Niles's interactions with Owain ultimately come down to how well he respects Odin/how good their relationship was. If they were besties when Odin gets deaged, then I don't think Niles will purposely try to make Owain feel bad, though a lot of what he says with metaphors & double meanings will probably go over Owain's head anyway. I also don't know if he'd purposely go digging for information or not?? Depending on how much he feels asking would be a betrayal to Odin's trust vs his own curiosity and all the hints Owain doesn't realize not to drop?? I think Owain would really determine what Niles does or doesn't learn about him. They have the potential to have a really good talk where Owain talks about his parents' deaths and the struggles he & the kids are going through and Niels talking about his own life on the streets. (BTW, despite Owain literally going through a war & both parent death, I think he might think Niles has the worse situation bc he's never known parental love at all, which baffles Niles).

Similar to Leo, I think Owain would be really cautious around Niles at first, both because he's an intimidating sort and because he takes cues from how everyone acts around Niles too. But!! Also just like Leo, if his future self trusted them, obviously that means something, right? So he'd approach Niles a bit more after a few days of settling in.

Niles & Owain's interactions are really hard to imagine because they depend on so many factors that I haven't decided upon! But hopefully the other ones make sense, lol

Thanks for asking!

[unproduciblesmackdown]

I just want to say I am absolutely obsessed w all your sincerely me posts. You do such a good job breaking them down and identifying all the little details that go into that scene as well as analyzing what they mean about Jared and Evan separately and ofc their relationship as a whole. Wonderful stuff! Also the compilation of Will doing The Laugh added 10 years to my life so thank u

oh thank you lmao i always enjoy people enjoying those posts, and there’s always so much to dig into with that scene, but i think plenty of times i think people can just sort of let the scene wash over as a “oh, the point of this is just that it’s fun” sort of surface level, very straightforward element of the show, and part of the point surely is that it Is fun, but everything about this song is about evan and jared’s interaction / dynamic / relationship here, and the levity and humor doesn’t mean there’s nothing here to Take Seriously, which is certainly true re: jared in general, rather than him being Jokes Boy with no real feelings or anything (i know i’m already preaching to the choir here with all this “here’s what sincerely me is Really About / what deserves more appreciation re: jared” lmao but the ted talks just Occur)

like, here’s the high point of the whole show for jared, and this moment with evan which is so enjoyable and satisfying that he’s going to keep hanging on to evan’s runaway train in the hopes of getting more of this, particularly in act 2 where that’s truly like 100% of his motivation (vs that in act 1 he’s at least also having some degree of an earnest response to the idea behind tcp along with evan and alana, even if it’s still plenty about doing this With Evan) and like, it’s especially a tragedy re: the album where you Only get jared’s vocals, & have less of his dialogue, so it’s easier to forget he’s there or what his part in this is and that, you know, this wouldn’t be a song if it wasn’t about His And Evan’s relationship, and it’s like 98% the case that “connor” in this song just Is jared

and that yeah like we’ve been recently posting lol how there’s actually really just these endless Layers to this material, a mille feuille of Relationship Analysis that’s getting folded over again and again, where it’s jared and evan for real, but pretending to be other people, and making things up, but trying to make it seem Real, and both taking the other’s feedback into their own writing / working off of the other’s contributions, and evan could be seeing “connor” through the lens of what little he knows about actual connor, or projecting himself onto someone he realizes was similar to him in ways, or being informed about Friendship via his own relationship with / perception of jared, who’s in a similar position here re: what’s behind his Inspiration or Interpretation, which roles are Him, or Evan, or ostensibly connor, and what all projection or wish fulfillment or Interpreting is going on around here, not to mention that these two Real People’s Real Dynamic is unfolding right in front of us and is very directly what’s going Into these created emails (which do, apparently, seem like the record of an amazing friendship according to cynthia and then like, a bunch of other people) because this whole writing session is this collaborative back and forth which wouldn’t be happening in the first place if evan didn’t turn to jared for input/help with anything and if jared didn’t want to be involved in evan’s life and be someone evan Wants to seek out like this and you know, how delighted jared is to have evan’s attention, even if as he starts giving evan what he’s actually after here, evan’s attention seemingly shifts over to “connor,” even though that’s jared.....still not a direct Win for jared there, see: him in the reprise, trying to put a “jared” into the story as well, since evan’s invented relationship with jared!connor isn’t actually translating into evan being closer / more interested in actual jared....what about jared!jared......now i’m even thinking about jared getting that highest note harmony at the end of sincerely me.....pay attention to Him

thinking allllllways about how jared completely invents the chorus himself, expecting evan to approve, and with no input from evan, just that Approval, and it comes on the heels of also-approved writing for connor about Trying To Be More....Nice.....i’ll turn it around, wait and see...........just about to lie down about the fact that this, on top of what evan’s already made up in for forever, is about trying to make this Hopeful story, because that’s what evan wants for himself, and what he thinks cynthia would find comforting re: connor, and here’s jared like, okay, so your Supposed relationship didn’t look that warm & amazing from the outside, but how about if it just had a lot of Potential, like, HMM!!! lots to consider there!! but then Oof at the fact inevitably the story falls apart and so does jared’s hopes for his relationship with evan, even though like, connor died & never had that friendship with evan, & jared is probably still alive & Did have a connection with him & is presumably still out there, able to be talked to, maybe try reinventing and giving things attention, you know

just that Yeah lmao the tl;dr here is people mostly going like wow lol what a fun song, &/or a gay song, & it’s like, well sure but for one thing, all of that is completely due to Jared & his and evan’s dynamic & relationship, but that once you realize that that’s what the song is actually about, there’s just so much to consider and analyze in what might otherwise be overlooked as a song that has nothing to to say besides what’s most straightforwardly there, even though, you know, these are characters who have so much trouble saying what they mean or feel or want, but who are able to Reveal more about themselves in that way through this pretense/artifice which is sort of displacing their usual defense mechanisms. been Thinking About It many times and i’m still pondering aspects of it afresh / having new Insights, and anyone else can be too lmao, lots going on here & lots to say based on what anyone’s experienced / taken note of.....wtaw is of course v different as a song, more outright dramatic & desperate, whereas sincerely me is presented as more comedic & light, and it Is these two friends having some fun here rather than the protagonist having this crisis before homeroom at the start of the show, but here sincerely me is as another song about Trying and Wanting and some hopefulness that has to remain ultimately inconclusive, because connor still died.....lots going on, of course the tone is different b/c jared is a part of it, but people also completely overlook Other moments as jared you know, not having as genuine or deep or real Feelings as evan b/c jared’s front involves acting unbothered and being clever and funny, but obviously that doesn’t mean his feelings aren’t there and there aren’t stakes to them, and just because this song involving jared just seems lighthearted and unserious doesn’t mean that again, things aren’t Real and Important for jared.....augh

and yes lmfao the laugh is very good, i’m glad to compile it for our health

[amtwst-tls]

Ghost Marriage Ace Personal Story Summary

Ok so I’m leaving a kinda big summary here while I make a good script translation later Its basically a dumbass squad moment and I’m LIVING for it I absolutely loved this event and Ace’s card story, so glad I got it!!

So basically his card story starts right after the event story, the ghosts have left, leaving their mess behind, so Crowley orders all the first years to clean up the cafeteria before they go back to their dorm, including Grim and MC There’s a lot to clean up and Ace starts whining about how the ghosts troubled them to the very end, and that he feels he could never understand the ghost bride who was chasing after love for 500 years This makes Epel curious and asks Ace if he’s never been in love before, because he felt it was unexpected of Ace to say so Ace says he has actually been in a relationship before, but it didn’t work out: the girl would never like thrill rides in amusement parks, would stop to take pics of cute things all the time, would only watch romance movies, etc, so he decided to start ignoring her(wow Ace real smooth) Apparently later he was called out by a group of girls he doesn’t even know and they started whaling on him, asking why he dumped her etc etc, and after that he decided to never be in a relationship again and that he’s fine just chilling with his dudes lmao Soon Deuce and Jack wander over, wondering what they’re talking about. Ace immediately changes the subject and focuses on Deuce, pointing out how Deuce completely froze up in front of the ghost bride when it was his turn. Deuce tries to defend himself, saying it couldn’t be helped since he’s never had a chance to interact with women before(aw) Ace then asks Deuce whether he was popular in middle school, since he apparently went to a co-ed as well, and thought Deuce’s ‘bad boy’ vibe would be a hit. Deuce says no, no woman other than his mother would talk to him, not even the boys could look him properly in the eye. Turns out he looked a lot scarier than expected lmao, the poor guy Next Ace moves on to Jack, thinking he could never be popular with that scary face. Jack tells him to lay off, and that it doesn’t matter anyways. The wolf people prefer to have one mate for life, so Jack doesn’t need to be popular, he only needs to find the right person and would cherish them for life(omg cutie...) The others find this too heavy for their tastes tho lmao, they’re like”You’re in highschool, loosen up a bit!” Next comes Epel, and Ace assumes he must’ve been very popular with his cute looks, but Epel tells them he’s from a small village so the only people around him were all old, and he only met people around his age at NRC, so that’s a bust. Finally Sebek marches over, telling them they should get back to work. Ace tells him he’s the worst off from the bunch, and Sebek brushes him off saying he has no time for romance anyways since he’s busy guarding Malleus. Ace asks him “but what if you meet someone you like? Would you talk their ear off about Malleus too” lmfao Sebek says no, he has prepared for such a scenario by asking Lilia, who’s advice was as follows: To correspond using letters, write down your feelings, send a picture of yourself smiling every 3rd letter, and keep repeating this until the 25th full moon passes. After that, go to a bench in the pasrk and leave just enough space for another person to sit Obviously, he was fooling around as usual but Sebek believes him, as usual lmao. But Ace did have a takeaway from Sebek’s whole conversation: Sebek said they were students and that they should focus on their studies, this stuck out to Ace, who was reminded of how cool Riddle looked when he stayed back to hold off the ghosts. Ace wants to study more magic so that one day he can wow his seniors too He’s sad the event ended with no chance to show off his cool side, but Ortho interjects by saying he was plenty cool when he rushed in to object the marriage. Ace tries to downplay his speech(which was heartfelt and good you should read the event story from somewhere) but Ortho’s data doesn’t lie and he could tell Ace was having a ‘real’ moment at the time. Thinking back to Ace’s speech, about how “the person you should spend your life with is the one who laughs and cries with you, who is always by your side through hardships” was all his heartfelt feelings, the others decide to start making fun of him now. Epel missed the actual moment so he asked Ortho if he could watch his recording, now everyone wants in on it and Ace gets really embarrassed and tells them to give him a break ..phew that was really long but I LOVED IT I will make the script tl for this later but hope you enjoyed this dumbass bonding as much as I did! Ace really shined in this event, and had some more depth added to him past his cynicism and jokes, really well done!

[poptimus-prime]

Here is what the kids call my highly disorganized, half-baked list of stuff that could have been done with Jack to make him a better character.

@yeetmetothehell I am sorry if you are disappointed by my ideas.

“Optimus was more like...Jack.” OK…so show us that.

In my opinion...Jack seems like he was intended to be written to be almost a parallel to Orion’s journey to becoming Optimus Prime, at least how he is used in the plot. Jack is described as “smart and responsible”, which can also be read as “hardworking and responsible” and really this can be achieved in narratively using a few points, IMO:

Long hours in his room/the library studying outside of work and school. 

Filling out the background of the garage more with sketches/print outs of motorcycle blueprints (to keep the idea that Jack really wants a motorcycle and show hints of extreme dedication, but they’re kept in the garage rather than his room to metaphorically show that distance he’s put between himself and what he wants)

“Man of the House”/”Grew up too fast” (This will be discussed more later but TL;DR “I’ll handle the electric bill this month, Mom”)

Somewhat fragile work/school/life balance that Jack somehow perfectly maintained before meeting the team

Orion was very physically passive. Jack seems to be intended to be written as passive but it comes off as an apathetic reluctance that Orion doesn’t possess (Orion may not believe in violence but he clearly wasn’t unwilling to communicate his thoughts; it’s how he got the title of Prime in the first place.) However, Orion had to learn to become more outspoken over time probably, so we can keep him as being aloof/reluctant at the start of the series.

“Man of the House”/”Grew up too Fast”

It’s no secret Jack came from a nonconventional home; June is very explicitly portrayed as a single mother with a dad nowhere in the picture. However the situation surrounding Mr. Darby is unknown. The way June talks about it makes me personally feel like Jack’s dad either ran out or divorced June and doesn’t bother with his kid. Dysfunction in the family really just goddamn changes you TBH. (can confirm bc hi, I come from a dysfunctional home) Sometimes you just grow up super fast. Jack probably spent his childhood missing his mom as she worked shifts at the hospital and seeing how lonely and hurt she was. He maybe went out and got a job the first day he could and helps with smaller bills (“I’ll handle the electric bill this month.”), or maybe other expenses like groceries and his own phone bill. June probably makes enough to comfortably support her and her son, especially given her job and the cost of living in rural ass desert Nevada. But Jack still does this anyways--it’s how he copes with his issues after what happened with his dad. Doubling down and trying to be what he thinks is the bigger man because his dad couldn’t be fucked. 

This would make the disruption him letting the bots into his life creates more staggering; June doesn’t expect her son to pay bills, but the sudden change in behavior (skipping out on work) would be a cause for concern because sudden shifts like that are Usually Signs that Something is Very Wrong. Especially because Jack is usually responsible and open with his mom; he would have told her if he was gonna cut hours at work, theoretically.

Jack feels like he has to constantly put his own wants aside to contribute to his household. Even if June doesn’t force this expectation upon him, it’s a feeling that he will have, especially if he watched his dad just abandon him and June. Maybe he has resentment towards his dad for this and that is causing some anger he’s keeping tightly under wraps? And maybe the bots give him an excuse to do something he actually wants to do for once or some excitement in his life and that’s why he goes along with it? Lots of options, people!

Clothing Choices: The Hoodie™

You are going to have to deal with me being a whore for costuming choices and what they can mean. The show has a problem with the humans wearing the same shit every time they’re on screen and I’d love to rant about all of them (yeah yeah I get it saving money) but I’m focusing on Jack right now. Give Jack a hoodie 2020. A grey one or some other dull and drab color. And make him actually always wear the hood (except like in scenes where he is working bc workplace dress codes obviously) As time progresses, the drab hoodie is changed to a more vibrant color, but he still always has the hood over his head. And then, at a pivotal moment, the boy takes the hood off. (You could even throw in Miko cracking a joke about Jack actually having hair if you really wanted TBH.) Why this? The narrative is that Jack is constantly holding himself under wraps because of his self-imposed responsibilities. As he starts to become more into his own, he decides to express himself more with brighter colors, but still has some reservations. When he takes the hoodie off, that’s when he’s fully realized himself in this process and thus completes the parallel.

Actually make him interact with Optimus in a meaningful manner.

Arcee can still be his guardian in the field and I think working on strengthening their relationship is vital. But also, if you’re gonna make Jack the confidante holding the key to Vector Sigma, there actually has to be...meaningful interaction. Optimus asking Jack what he’s so engrossed in reading and Jack explaining the book he’s got with passion before shutting himself up and saying “it’s kinda dumb though” or something. And Optimus just responds “I don’t think it’s dumb, tell me more.” Coaxing him towards more self-discovery and expression. Optimus maybe sees more of his old self in Jack and starts attempting to be a quasi-paternal figure without really thinking about it because he is, after all, Dadimus. Jack maybe lashes out about how he doesn’t need Optimus to be his dad and that makes the space between them tense for a while. Eventually Jack comes to apologize and maybe there’s an important Talk.. Just a few ideas I will expand on later. I feel like forgiveness and lack thereof is a good theme--I know I was held back for a long time because of how convoluted the concept of forgiveness is with family.

The Character Arc

 So, what would Jack’s character development throughout the events of season 1 be? My basic idea for a Jack arc that mirrors Orion’s self-realization and coming into Prime-hood without being a carbon copy is essentially: 

Jack is portrayed as a responsible, hardworking, studious teenager who constantly turns down chances for fun and excitement to handle his responsibilities. Has clear dreams for after high school and for his own personal life; but he’s constantly contemplating and changing his mind about whether he will or not because he’s extremely dedicated to helping his mom and all that. However, he still gets super curious about Arcee and gets swept up by her in the Vehicon chase, and he still has whispers of courage and protects Raf during the altercation. He first tries to ditch Team Prime because he’s concerned about his responsibilities, but eventually returns because he’s drawn to the opportunity to finally go buck wild for once in his life (even if he spends his time being hesitant about everything.) His hesitancy and dedication to severe self-imposed responsibility is a result of his inability to move on from what his dad did to him and his mom; he’s under the impression that he 1) Has to forgive someone to move on, and thus 2) He cannot move on because his dad isn’t there to bother to say sorry and take on his position as Dad. In essence, he becomes less the character telling Miko to stop and more the character being pushed by Miko to be more adventurous. In lulls in action, Optimus starts to take interest in him when he notices his constant hesitance to express himself and is just being dragged along rather than going willingly. Has a conversation with him about a book Jack’s reading, which Jack attempts to shut down because it’s “dumb and childish,” but Optimus urges him to continue. The idea that June knows about Arcee as a bike and Jack explaining that he bought a motorcycle as a fixer-upper for dirt cheap can stay. (He probably still is saving up for his motorcycle.)

The longest portion, after Optimus starts interacting with Jack on a level of bonding and gently coaxing him to be himself— Jack becomes more outspoken and he’s shown as curious, analytical, quick witted, and has a deep sense of justice. Being young and craving a childhood lost to his trauma and self-imposed obligations to help his mom with running the household, he suddenly starts spending more time at the base pursuing hobbies and going on missions rather than studying and work, which concerns June. She tries to press Jack, and is met with what can be described as typical teenage headbutting that gets progressively worse. She grounds Jack after the fight, MECH takes her, the rescue happens. (That makes sense to stay in this narrative IMO.) Around this time, Optimus has effectively started becoming Jack’s own Alpha Trion—teaching him things that he’s picked up that he may feel apply to Jack. Jack interprets one of these lessons as Optimus trying to be “dad” and he’s not having it. Makes it VERY clear that he does not need a dad (“didn’t need one before and sure as fuck don’t need one now”) and definitely snaps at Optimus, which then pushes his progress in the arc closer to the end. He eventually comes back to apologize, and Optimus forgives him. He and Optimus have a heart-to-heart about one of the hardest lessons Optimus has had to learn—how to let go of the past without forgiving those who have hurt you and refuse to make amends, so that you may determine your own future. It’s very clear he’s talking about Megatron, even though he never says his name. Jack takes this lesson to heart.

His final bit of development before the hood removal thing probably happens during the events of “Rock Bottom” and reinforces that hard lesson, right when he’s faced with the option to off Megatron. Maybe there’s some taunting about how Optimus preaches softness and forgiveness too much when Jack refuses to kill him. Jack gets angry, and he’s about to fucking do it. But then he stops, takes a breath, and says “Optimus doesn’t preach forgiveness, he preaches moving on from those who refuse to move on themselves. He will never forgive you, but he’s learned to live on despite what you’ve done.” Soon after this, when Megatron comes to the base, Jack takes off his hood, stares Megatron right in the face, and says “This is not forgiveness, Megatron. Don’t you forget that.” Later, when Optimus gives him the key, he tells him something along the lines of “you have grown since we’ve met, Jack, and even though there is still a long way for you to go...” he hands Jack the key. “...Remember that even I am a work in progress.”

Anyways this is again, half-baked. And needs lots of polishing. But it’s something.

[overdramaticly-dying]

Mrs. Cuddles

Alright, it’s time for Mrs. Cuddles, requested by @tenchikotheauthor​!!

This episode is pretty great!! It’s another Raph episode, and it's nice to see our red boi get some solo attention- although all the other characters are still strong when their moments come, and I absolutely love the sorta chill vibes this episode gives off... like this gives off Saturday afternoon vibes, y’know? Anywaysss, let’s start-

-They all get together to support their big sis and her new job, its so sweet

-Leo’s their face-man, so obviously they use him for pranks

-April’s lil laugh asdfghjkjhgfd I love her sm

-THEIR FACES IN THIS SHOT ARE PRIME SIBLING CULTURE???? THAT’S HOW YOU KNOW SHITS ABT TO GO DOWN

-idk abt ya’ll, and I know Raph’s reaction is seen as a joke but like... is there a reason why he’s so scared of her??? Like it’s seen as a joke cuz the others see it as a joke... but I’m skeptical...

-Raph’s desperation to assure April that her acting is good

-”Raph’s fear flops make me laugh every time” uhhhhhh Splinter???? 

-”Haha, I’m enjoying this” valid sibling response tbh 

-Somebody already mentioned this, but Donnie’s genuine laugh??? it's amazing

-”anD foR tHe reCorD thEsE arE tEarS oF LauGhTer”

-Raph admitting that he’s scared so early on instead of leaving it as that cliche ‘final battle’ moment that he needed to stop being in denial??? amazing. This show consistently turns cliche’s on its head and it's amazing

-”ok demon- reVEAL YOURSELF”

-”I will never marry any of them off”

-Mikey and Leo playing air hockey while April watches... I love how casual they are, and not just watching tv, but doing normal stuff like this?? it's great

-Raph getting their attention by just... yeeting himself on the air hockey table

-”If you’re gonna go, take a bat, or the turtle tank- HEY, AND DON’T SCREEEEAM”

-Donnie loves his bros, but I really like that they show him having alone time and working on projects that he wants to work on, instead of always just upgrading tech or finding solutions.

-He likes sculpting?? that’s pretty cool

-”Oh dear me, gasp, it is Mrs. Cuddles. Nice try Raph, come on out”

-the line delivery is seriously on point

-also lets talk about how both April and Donnie assumed it was Raph. I know I say this a lot but, Sibling Culture

-Donnie’s genuine scream because he was beinG FREAKIN CHASED WITH A CHAIN SAW???

-”AGAHH DONNIE! phew, it’s just Donnie’s head”

-his bros know he has a bust of himself, and they don’t judge him (at least to the point where Donnie needs to hide it). Healthy.

-”Thanks Donnie’s head!” *yeets it aside*

-Leo getting frustrated with losing

-Mikey taking a shot while Leo’s distracted

-Sorry I just really love the subtleness of the whole air hockey thing

-”Woah. we really broke this poor guy... Wanna skateboard?”

-”I’ll guard the door while you grab the weapons” “Great idea!” *clears barricade and leaves*

-Mikey clinging to Leo

-”So when she kept growing, that wasn’t a clue to stop screaming?”

-”Why can’t we just scream for help now?... oh, right. we scream she grows, not smart, got it”

-They look so tired

-”I’m starting to think this prank was a bad idea”

-HE SAYS THAT SO CASUALLY.

-”Whoa- you’re huge! I uh, see you met Mikey”

-Splinter heard something going on and came to check on Raph

-Ok but sidebar: this is kinda the first episode where we see Splinter fight or show how protective he is of his kids... I like that its apart of his character, and wasn’t brought up in an episode based around him, or some big showstopper moment- he just protects his kids, that’s what he does

-lastly- CAN WE TALK ABOUT THE BACKGROUNDS IN THIS EPISODE??? Like it stays in the lair, but it's absolutely beautiful???? I was gonna gather up all the shots, but there were way too many... there’s so many different perspectives and just the designs of it all??? It’s really beautiful, and you can tell how much thought, effort, and talent went into designing it- its seriously amazing

tl;dr This episode is really fun, and has some great visuals, along with character building, and fun sibling interactions!

(though seriously- what is Mrs. Cuddles??? a mystic creature?? is she from another dimension??? is she an alien??? she doesn’t seem like a robot, but maybe???)

[spotofmummery]

Looking For Your Feedback!

tl;dr:  I’ve got some concepts and inspiration around a character who connects to Amon’s story and Allagan themes, but has a separate storyline (both in plot and tone). 

Please drop a comment on whether this would be fine to post/interact here on Spot of Mummery (properly tagged) or if this is so different that I should create a separate Tumblr for stories and interactions.

I’m good either way! I’d just love to hear feedback before I roll with a whole new account (though I am leaning towards a different Tumblr). For more specifics, click the ReadMore!

So. Based on things that have happened this weekend, I’ve had some developments that I’ve only kept in my head for a good while finally come to fruition.

Like many folks, I’ve wanted to explore the concepts of the Warrior of Light (Azem). But I’ve been hesitant to designate any of my characters as such. Mostly because no one really stood out as a WoL, and I felt like I needed a compelling concept behind that character to justify it.

By now, we all know the story of the WoL – we’ve lived it out ourselves through the game. So what could I do that was different?

Most of the years I’ve played FFXIV, I’ve considered my Miqo’te main the non-RP WoL character. But after I race changed her and gave her a very different background, I tossed those thoughts out of the window.

However, for many months now, there is one other character that I’ve considered for this spot.

Every now and then, I’ll post about Tad here. He was developed as Amon’s younger cousin and meant to be a character that gives some color and depth to Amon’s backstory. While a bit wild and reckless, Tad made a good foil character for Amon – I used to joke that Tad was my “good boy.”

Somewhere down the line, that turned into quiet plot whispers of: What if Tad was the Warrior of Light?

Not the current day WoL as we know them. After all, it’s suggested that there have been true Warriors of Light throughout time, and the concept of the lifestream makes it plausible that there is a cycle of death and rebirth for souls.

Tad was born during the 4th Umbral Era, during the time of the Allagan Empire. He was an Allagan by nationality, though raised as a forest Elezen outside of the high-tech cities. He eventually became a leading member of the Resistance forces that fought against Xande. Not all Allagans, after all, agreed with what their leadership was doing in the Tower and Azys Lla.

My thoughts were:  what if the 4th Umbral Calamity woke the Echo within Tad, creating a WoL during the Post-Allagan age? The world has just shattered, Syrcus Tower has sunk, those who survived the fall of the Empire struggle in tatters, and the new era born of this tragedy is turning swiftly into a dark age of forgotten knowledge.

And here he is, the newly-awakened Warrior of Light with no one to guide him or any knowledge of what even is a WoL. Just a profound loneliness and loss, these odd visions and a voice that tells him: Hear. Feel. Think.

…And I’m over here saying to myself… why can I never just write normal characters?

Thoughts on whether I should make a new Tumblr or if it would be relevant enough to post these stories here, should I write them. 

[carolmaximoffs]

THE GOOD DOCTOR

CHAPTER TEN

Ch. Summary: Having successfully wooed Thea long ago, Sam puts a ring on it. For now, all is well. 

Warnings: cursing, endgame/infinity war spoilers, drinking (in the context of a wedding reception)

Pairings: Sam Wilson x OFC

A/N: short and sweet ending. if you’re not caught up with tgd, you can read the rest of the story here, but otherwise this is it! i love thea so so much and i really enjoyed writing her. i hope this lives up to sam/thea shipper’s standards bc this chapter is all fluff...if people are interested maybe i’ll throw together a blurb or two later, but like i said, for now, this is the end. 

Tagging some people so it isn’t lost in the tl: @star-spangled-beard-burn​ @suz-123​ @curtainlover​ @annathesillyfriend​

With the unique hell of her past, déja vu is thankfully not something Thea is overly familiar with. However, standing on the compound’s roof staring out into the sunset, a tingling of familiarity creeps up her spine. When she turns, he’s there, and when she blinks, he doesn’t disappear. Sam is real once more, in her arms like he has been for the past year. Thea buries her face into his chest as he runs a hand over her braids.

“Technically, it’s bad luck to see each other before the wedding.” Sam’s voice is soft, joking, but Thea still halfheartedly drives a fist into his gut. 

“Shut up, Wilson,” She grumbles into his shirt. “Not ever letting go of you again if I don’t have to.” 

Sam tucks her head closer to his heart, calloused hands cradling her to him. “I know, honey, I know.”

-----------------

Wanda gapes as Thea steps out into the hall, Pepper right behind her. 

“Wilson is a lucky, lucky man, Thea,” The Sokovian murmurs as she steps closer, securing one of the flowers twisted into Thea’s hair like a crown. Morgan, beside her, bounces eagerly on her heels, nearly spilling her basket of petals. Pepper quickly snags the basket from the young girl as Thea scoops Morgan into her arms.

“Mama did so good, Auntie Dot!” Morgan exclaims, leaning back precariously in Thea’s arms to tug at a kinky curl. “Just like a princess.” 

Thea plants a kiss on Morgan’s forehead in thanks. As Morgan squeals, swiping at the glittery imprint left on her face, boots pound up the stairs. Bucky peeks around the corner, hair freshly cropped. He runs a hand over it and lets out a low whistle as he gives Thea a once over.

“Damn, Doc. Not too shabby out of them scrubs,” He drawls. Thea turns Morgan’s face away with one hand and flips him off with the other. Bucky only rolls his eyes, making a show of shifting uncomfortably in his suit jacket. “Ladies, you might want to head out. ‘Cept you Miss Morgan.”

“I go first!” Morgan cheers. She squirms, and is back to bouncing as soon as Thea sets her down. Pepper hands Bucky the basket as she and Wanda slip past him. Bucky crouches, handing the basket to Morgan with as much seriousness as he can muster.

“That’s right, bubba, but you gotta stay still so you don’t spill it, okay?” Bucky instructs as he hands the basket to her. Morgan salutes him, and Thea bites her lip as Bucky salutes right back. “Awesome. How about you go wait with Mr. Steve at the end of the aisle, okay?”

Morgan nods eagerly, scampering off towards the stairs. She holds her basket as steady as possible all the way down. Bucky gets up like he hasn’t just interacted with a child in the sweetest way possible, brushing off the knees of his dress pants. He catches the look Thea’s giving him, though, and makes his face as threatening as possible even as his cheeks flush. “Not a word, Doc.” 

“Of course not,” Thea murmurs. Bucky leans around her, grabbing her bouquet off a small table beneath a painted portrait of the Stark’s that makes him quickly avert his gaze. She thanks him softly, smoothing her dress one last time before taking it from him. Thea makes to go around him, but he stops her with a light grip on her shoulders.

“You sure you wanna do this?” He inquires, and Thea knows that he’s only half joking. “I can fly a helicopter. I’m sure Stark’s got one stashed here somewhere. You just say the word...”

Thea laughs, though not unkindly. “That’s sweet, James, but I’m pretty positive this is what I want.”

She stands on her toes to press a kiss to the soldier’s cheek, though she knows it doesn’t nearly express how grateful she is in the way she needs it to. Finally, they join the others outside. Morgan is chatting animatedly with Wanda about their matching dresses; Steve, barely recognizable even after a year, smiles at them as they step off the porch . Pepper’s strawberry blonde head can be picked out of the thin crowd, right up front.

“You look lovely, Thea,” Steve whispers as she steps up beside him. Bucky snorts.

“You would think so, practically eye-level with-” Thea punches him in the arm before he can finish the thought. He snickers as he walks off, linking arms with Wanda. The wedding march starts; both Wanda and Bucky urge Morgan forward. She skips down the aisle, joyfully scattering rose petals, and just past her is the sight that truly cements the moment for Thea. Sam, all decked out in a three-piece suit, a pale orange rose pinned to his label matching the blooms in Thea’s hair. The hand on Steve’s wheel-chair tightens.

“It’s surreal, right?” The man in question breathes, just for Thea’s ears as Bucky and Wanda make their way towards the makeshift alter in Pepper’s backyard. Thea can only nod, because suddenly Steve is wheeling himself forward, and she’s almost in a trance alongside him. Bucky gives her a thumbs up from Sam’s right; Wanda offers a reassuring smile. Steve grips her hand tightly just before she steps away. Sam turns to face her, watery eyes never straying. She bites back the overwhelmed, joyful sob that rises in her throat when he links their fingers between them. 

“Alright, everybody, thanks for being here today. This isn’t a real bible, its just a fancy notebook with all the officiate-y lines in it,” Happy laughs nervously along with the small audience of friends and family they’ve amassed. “No, seriously, I got certified online last week because Pepper...nevermind. Sam, repeat after me... ” 

Thea finally does let it all go when she slides a thick silver band onto Sam’s finger with shaking hands, crying openly as he returns the gesture with a thinner, sapphire-studded ring. When he kisses her, he cradles her face in his hands. It quickly turns into his hands slipping down to her hips. Thea laughs into the kiss as he grips her ass tightly in one hand, her waist in the other, dipping her low over his knee. The crowd whoops and hollers; Sam rights Thea back on her feet, both of them breathless and smiling like idiots. The moment is shattered as there’s a loud cough, and Bucky slings off his bow-tie.

“Can we get to the food already?”

--------

“Can I have everybody’s attention please?” Sam’s standing from his chair, clinking a champagne flute with his knife. Per his request, everyone in Pepper’s dining room-turned-banquet hall turns to face him and conversations cease. “Thanks. I don’t know if the husband usually gives any type of speech but, here goes nothing.

“When I first met my wife,” He pauses to glance at Thea, grin enormous. “When I first met my wife, I didn’t think she’d be my wife. I mean, obviously, I thought she was gorgeous, but I hadn’t seriously thought about dating anyone in...I don’t even know when. Superhero thing kinda takes over your life, you know? Being a vet counselor wasn’t much better. But Thea...Thea was different. She was smart, funny...she could tolerate Tony effin’ Stark. She’s also one of the strongest people I know. I started ‘wooing’ her partially as a joke, cuz, hey, what shot did I have? C’mon. Wiseass vet in his thirties, saves the world in a bird costume. And this woman...this woman not only was a surgeon, she had a damn PhD! And then we find out she can heal people with a freakin’ touch...no way. No shot in hell. But she took it all in stride, and saw something in me - I still don’t know what - and she chose me. She chose me, and I promised already, but baby,”

Sam turns to Thea instead of the guests now, reaching out a hand that she gladly accepts. With her free hand, she swipes at stray tears leaking from her eyes. “Dorothea Triplett-Wilson, I promise I’m gonna choose you every goddamn day of my life. If I’m still saving the world in ten years, it’s only to keep you in it, and make it a better place for our kid.”

“Your WHAT?” This comes from Wanda. Beside her, Bucky has promptly choked on his champagne. Morgan is parting his back with as much force as she can muster. When she finally gathers the courage to peek through her fingers, Thea meets her husband’s embarrassed face. Despite the chaos around them, he gives her his most charming smile.

“Oops?”

[gayregis]

what are your feelings about geralt and yennefer? either book or game or netflix or all of them?

books

i agree with most canon*. it’s a good relationship that sapkowski put a lot of effort into developing and writing over the course of all of the short stories and the saga, so i think it tends to get more attention just because the author gave it more attention. i think it’s pretty incredible that geralt and yennefer have this deep relationship without even seeing each other in-person for basically half of the short stories and half of the saga, sapkowski did some interesting things to make that happen, but it ends up working.

i appreciate how geralt and yennefer are two very vulnerable people with issues relating to intimacy and letting others into their life, and they actually aren’t ready to have a relationship before they become more mature and understand what love actually means. imo, their journey to committment is a little too focused on monogamy and looking at relationships through that lense, but that is/was the viewpoint of the author at the time.

the major thing for geralt x yennefer as a ship for me is that i appreciate it in canon, whenever i read their romantic parts i feel it’s sweet, their moments in the end of the last wish, at thanedd, and the end of the assault on stygga castle are really moving and wonderfully written. i like how they speak about each other and feel about each other when they are apart. it’s something i can support and like, i feel a lot of this is tied to them being parents as well but it works overall. 

something i also appreciate about them is how they’re really different from a lot of other m/f relationships. geralt isn’t fucking cruel, he acts like a human being and also has the capacity to apologize and act humble towards yennefer, being kind and caring so much about her feelings and what she wants. yennefer isn’t just a sex toy for geralt, she exists as her own person and is a very strong personality, but also isn’t cruel and doesn’t take him for granted. together, they really do care about one another.

BUT. even though i appreciate it in canon and in all of the parts i have read*. i literally can’t really ever think up my own thoughts or headcanons for them. and the reason for this that they never DO anything together in canon, asides from living together in vengerberg, going to thanedd, and participating in the fight at stygga castle. all they ever do TOGETHER as a couple is stay at home, go to a formal party, or fight for their fucking lives trying to escape the mad torture and grief wrought upon them and their daughter. in the other moments, they are just thinking about each other in loving manners, yearning, if you will, but whenever they are together it’s never an activity with potential for a story.

in my mind i HAVE to compare and contrast yennefer and dandelion and their respective relationships to geralt, just because they’re the two closest adults to him that he has in his life. the issue for me with geryennefer is that it doesn’t have potential like gerlion does. geralt and dandelion do all KINDS of fun, weird things together. mainly they go to festivals and bars, but they also just ride to different cities across the continent and explore, sometimes dandelion accompanies geralt on contracts, sometimes geralt has to meet dandelion in a place significant to him like oxenfurt. dandelion is constantly embroiled in other personal relationship drama. they actually DO a lot of things together, and these different scenarios are really interesting as a fan, because you can just think up unlimited things that they could have potentially done during all of these years. with geralt and yennefer, you can’t really do that because yennefer doesn’t travel, she has a house and a career and is a very esteemed and classy woman. in addition, this is just a personal preference it seems, but i never really get too involved in characters (and thus, ships with those characters in them) that don’t have an element of comic relief to them. geralt and yennefer can be in love, but i don’t know what kind of funny situations they might find themselves in, i don’t know what funny or wacky interactions they might have. and so it’s not all that interesting to me.

similarly, another thing i always compare and contrast geryennefer and gerlion on is that geralt and dandelion are so different. they’re entirely opposites. dandelion is very extroverted, flirty, gets into trouble, and has no issue with vulnerability or intimacy. geralt stays away from people because they despise him, he stays away from drama, and he’s not experienced with intimacy, he is insecure. they have a lot of friction there as two characters interacting with one another because of how different they are and the different lives they have had that influence who they are and who they might know, what they might like to do in a situation. in contrast to this, geralt and yennefer are very similar people. they both have a lot of issues with intimacy and vulnerability that makes them finding each other and developing with each other over the course of the series very compelling and interesting, but boring when you want to think of headcanons or new adventures and interactions for them to have. once they have developed their characters, they will stay developed. unlike with geralt and dandelion, where there will practically always be at the very least a little friction between them because they’re just so fundamentally different.

tl;dr: geralt and yennefer is a compelling and well-developed relationship in canon because sapkowski just poured his entire heart into developing them, they have many endearing moments together and develop their characters together and parallel each other in many ways; however, this means that they’re very similar characters and their goal as a couple is to finally be able to settle down, and that makes them lack potential as a ship to think about as a fan (in relation to thinking of new interactions for them or new situations for them to be in). 

so as a fan who has ships, i have many many headcanons and ideas and fics in-progress (that i will never get around to writing) for gerlion, but basically nothing for geryennefer, which kind of sucks. but i also don’t disregard geryennefer as not canon or something like that, i just think that geralt can have both a boyfriend and a wife because i am disrespectful to sapkowski’s writing of yennefer as a possessive lover and his emphasis on monogamy as the ultimate commitment.

* obviously the shitty things that sapkowski did relating to consent in the last wish and something more (it’s basically canon that sorcerers/esses can hypnotize others into love and sex, but yennefer just chooses not to do this with geralt after the last wish because they Love Each Other Truly or something like this) should be retconned, just as i retcon the fact that geralt slept with barely-legal essi and shani, just as i retcon the off-color comments and jokes that got written for dandelion

games / cdpr

it’s... fine. yennefer got a major personality retcon and a lot of what cdpr says about their relaitonship doesn’t make sense and is pretty cringey, without much depth (apparently, they bonded over making witty puns...?) but it’s also a video game and we finally got to see yennefer and ciri in the witcher games franchise, which is a gift enough of itself, because they’re like, the most important people to geralt. cdpr has this weird infatuation with triss merigold and sexualizes her at every chance they get, her personality is incredibly different from the books, they basically made her really easy to wife up because she’s just very sweet and agrees with everything you say and loves you, so i am just glad that we have another option besides OOC triss. 

but yennefer is also pretty OOC in a lot of parts, she has been rid of all of her character development from the series and even though she makes a lot of sacrifices for ciri, tw3 is incredibly reluctant to call her ciri’s mother, so what was the point of all of this. they also nerfed yennefer incredibly by making her hair salon curls instead of actually naturally curly, stormy hair, so that detracts from her entire character. the fact that she’s working with nilfgaard is just plain laughable and the fact that geralt is ok with this is even more laughable. there’s not even that much ship material between the two in the game and whatever there is is pretty cringey and base with no real depth or intimacy, so i cringe whenever i see a romantic gifset or something of them. it’s yawntown.

netflix

i despise netflix version of them because they’re incredibly boring and basic with pretty much every common major issue with depiction of a m/f relationship on screen: huge age cap between cavill and chalotra which is uncomfortable to watch because chalotra is only a few years older than freya allen who is meant to play ciri, geralt’s daughter..., they jump into romance and sex way too quickly (yennefer receives geralt in the midst of a huge orgy and is very seductive and sweet to him instead of zapping his ass with lightning and threatening to kill him, she also bathes in the same bathtub with him immediately instead of turning invisible to make a fool out of him), consent (geralt’s wish in their adaptation of the last wish wasn’t heard by yennefer, and in the end, he says “my plan worked,” which are three words pretty much no one wants to fucking hear after sex), weird homophobic joke upon meeting (yennefer says jaskier is “just a friend, [she] hope[s],” which is... it’s 2019 guys, come on), they argue for pure drama, geralt is sincerely mean to her (laughs at the idea of her being a mother), their intimate scenes are tasteless, they break up by the end of the series in the adaptation of the bounds of reason because geralt was mean to her... 

there’s so many things i can’t even begin to list them all, but those are a few key ones. geralt is just a purely unpleasant character in netflix so he doesn’t deserve to be in love with anyone, and yennefer is such a basic and boring character with no sincere flaws or uniqueness that i can’t be interested in her at all. and together, they’re every heterosexual relationship that has ever existed.

[musette22]

Hi Minnie! First of all, thank you for being so sweet, reasonable and respectful, I can't even describe how much joy your blog gives me! You are a true pro in emotional support for Evanstan fandom, so I guess I kinda need some reassurance. [1]

The thing is, as you probably know, some Seb stans on Twitter take the whole Chris insta situation and turn it into smth embarassing, like making fun of Seb and Mackie ignoring Chris and calling the idea of the challenge stupid (even though Chris did donate, not just "asked fans for money", as they say). It's like they feel the need to attack the first before smb calls they fav out. [2]

I know there ARE good people in Seb fandom, it's just that the aggressive ones are so loud and spread their bs so fast, I end up seeing it on my TL. No matter how stupid it sounds, it keeps making me sad to see so much hate towards Chris and his fans not from some random locals but from Seb stans. It's like two halves of my heart are torn apart. Not even ship-wise, it just seems so hard to love them both and be present on twitter these days. [3]

And, since I'm whiney af today, one more twitter thing: the CW promo era was some kind of honeymoon for us, sure, but I've recently seen some opinions on how Chris was all lovey-dovey and Seb was stiff and bored and uncomfortable, how their interviews were unnatural and boring. I mean, in my part of fandom (non-English speaking country) there has always been a popular perception of boys' dynamic as these "over-excited puppy playing around a confused cat" vids, if you know what I mean. [4]

But it kinda seemed ok for me, and the way they acted a little awkward around each other etc. Well, you can tell I'm easily affected cause now it does feel more negative to me. Stuuupid, I know. Maybe it's my "let's feel sorry for Chris and his fans" phase, idk. Sorry for bringing it here, you just seem to reassure people so well. [5 and last, it was long lol]

Hello my lovely!! This was indeed long hahaha but that’s totally fine, I myself am also someone who also has trouble keeping things short to I feel you 😘 

This is a very long reply so I’m putting it under the cut so I don’t clog up people’s dashes!

Okay so first of all, let me say I was never a fan of Twitter, but everything I’ve heard lately has just lowered my opinion of it even further. I know there’s a lot of amazing stuff and brilliant folks on there as well, but it also seems to be where all the bitchy, hateful, entitled and inappropriate people congregate. So personally, I’m very happy with my little community on Tumblr when it comes to fandom, and for news and social media I prefer actual news outlets and instagram. The sad truth is that there are a lot of harmful and hateful opinions in the world, and as someone who struggles with anxiety, I try to find ways to avoid a lot of it. Especially the stuff I can’t do anything about (you can try to reason with most haters until you’re blue in the face, and 90% of the time it’s not going to make an ounce of difference). It’s much easier to curate your own experiences on platforms like Tumblr and even Instagram than it is on Twitter, or so I’ve gathered. So I’m afraid I don’t have a lot of helpful advice for you there apart from ‘maybe try and stay away from Twitter if you can’ which you probably don’t really want either...

As for the whole Seb vs Chris issue: it’s clearly completely ridiculous. There is no ground whatsoever to believe they’re at odds. At worst, they’re now just casual work friends, but there is no reason to believe there’s any bad blood. It’s interesting to consider that initially, the argument seemed to be they had fallen out and both disliked each other (no idea where that came from but sure), then it was that Chris didn’t like Sebastian (because he allegedly shaded him when he joked that Scarjo was the only one of his friends who came to see Lobby Hero), and then Chris got Instagram and tagged and followed Seb, but because Seb hasn’t responded to the challenge yet, he now apparently hates Chris. For what reason, god only knows, because only last year at MCM London (where I was present myself) Sebastian gushed about Chris and his experiences with him while filming the Cap movies, and lets not forget it was him who initiated the hug at the Endgame premiere. Long story short: they don’t dislike each other. They’re completely fine, people just like to make up drama for whatever reason.   

As for the Sebastian stans who hate Chris and vice vera: to be honest, I wasn’t even really aware it was an issue until recently, because I was under the naive impression that it was kind of impossible to love one but hate the other. Both of them are such amiable, sweet, thoughtful, funny, talented guys, and everyone who actually knows them adores them, so why on earth anyone could hate either of them is beyond me. But even if you do, I genuinely don’t understand this need to pit them against each other? Why? I think a lot of it is down to people just liking drama, or being actual 12 year-olds who still see the world in a kind of high school dynamic-way. I’m not saying Chris and Sebastian have never done anything wrong, but in my opinion, none of it warrants outright hate or being cancelled over. It’s such an immature and unreasonable take. I’m just sorry for the people who can’t love both of them, because man, are they missing out! I understand that it’s painful for you to see all those opinions when you love both of them so much, but that’s why I try to just avoid them. I know they exist, but not seeing them makes dealing with it a whole lot easier, I promise! ❤️

With regard to the challenge itself: if the celebrities who are taking part in it are not donating themselves, then yeah, that would be problematic. However, we know that Chris donates to a ton of different charities, so there’s no doubt in my mind that he’s donated to this cause as well. Asking people to buy tickets to try and win this “prize” is not in itself an issue, if you ask me. People can think for themselves, can’t they? If they think it’s worth it, they think it’s worth it. They’re not being forced to part with their money, and moreover said money is being used to help people in need. Of course fake and problematic charities exist, but there are still good ones out there as well, so let’s assume for the moment this one is actually doing all of this from a genuine desire to help people and it’s not some money grabbing scheme.

Furthermore, as I’ve said so many times before, I really don’t believe Sebastian and Mackie are “ignoring” Chris. If they’re choosing not to do the challenge (they still might do it at some point) then I’m sure they have a good reason for that and it isn’t that they’re holding a grudge and are thinking “screw this charity and that Chris Evans, I’m going to ghost him to get my revenge!” I mean, do these people even realize how ridiculous that sounds 🙄 I also believe they would have let Chris know about their decision privately. They do have each other’s phone numbers, you know... 

And lastly, about the CW press tour... I don’t know what footage these people have been watching to come to such conclusions, or what’s wrong with their eyes and ears, but that makes NO sense to me. I’ll tell you what; it was mostly the footage from the CW press tour that got me convinced there was something going in between the two of them! Both Chris and Sebastian acted in a way that screamed “smitten kittens” to me, and if there was ever any “stiffness” from Sebastian’s side, then that was no doubt just his slightly more reserved personality compared to Chris and Mackie’s. Chris and Sebastian’s videos together give me LIFE, so for anyone to call them boring is actually kind of insulting lol. To me, almost every interaction Chris and Seb had during that press tour showed that they were either low-key (in a friendship way) or high-key (in a romantic way) crushing on each other, and they clearly admire each other very much. Any awkwardness I’ve ever seen between them for me seemed to stem from that crush (is anyone not at least a little awkward around their crush sometimes?) and not from any dislike from either side. That’s actually such a ridiculous idea to me that it doesn’t even make me worried, it just makes me laugh. Some people really don’t have eyes, it seems. 

Anyway, that was a reeeeeeaaaaaallllyyyyy long reply lmao, I’m sorry! I hope this helps a little though, because I do know how shitty it is to feel like you do about things that are supposed to make you happy!! Tuning out the haters and focusing on people who feel the same way you do in my experience is the best way to get to feeling good again 🥰 Big hug, and hopefully you’ll feel better soon!

[septemberlikestea]

Hi! Ok so when I played hk I interpreted Brumm going to banish the troupe as being traitor. Could you explain why it's not? I'm legit curious, not being sarcastic or anything, because I see both takes but the "he is obviously not a traitor yall dumb" take NEVER has an explanation so I'm not sure what I'm missing? I read the dialogue and everything, all I can see is that he went behind their back to banish them because he didnt want to continue the ritual. I want to understand why that's wrong?

thank you anon for being very nice and also for giving me a real reason to finally whip out all my troupe lore juice. it is time. i will also try to use Proper English. just this once. 

obvious hollow knight (specifically the grimm troupe) spoilers!!

Brumm doesn’t fit the definition of a traitor. Partially, sure, it works. He does try to sabotage the ‘endless song’, as he puts it, very poetically. He does want to let Grimm and Grimmchild be free and not have to die (or die eventually) for the Heart, which seems to want to sustain itself with sacrifices, much like the Pale King and the Radiance did/do. He also doesn’t seem entirely against the Troupe, since he doesn’t express any dislike for any members, so he is not turning his back on them.

“Traitors betray the trust of those who have faith in them or believe their promises.”

Brumm says that Grimm’s ‘scarlet eyes’ (whether Grimm can consciously monitor the troupe members or if the ‘eyes’ are not actually Grimm’s, but the Nightmare Heart’s) cannot see him in Deepnest. To reach Deepnest, he had to go through half of the whole kingdom, which Grimm must’ve been aware of. That was Grimm’s first chance to catch him in the middle of doing things he’s not supposed to. Collecting flames for the child seems to be something only the Grimmkin Novices, Masters and Nightmares have to do, and Brumm is not one of them for many obvious reasons.

Then, Brumm goes ahead and stands near the Nightmare Lantern. You know, the thing used to call the Troupe in the first place?? He just stands there??? It’s a place Grimm has absolutely no excuse to be unaware. What does Grimm do? Nothing. He allows Brumm to stand there for an indefinite time, consdiering you can just take the flame Brumm gives you and never meet up with him in the Howling Cliffs. 

Brumm must also be aware that Grimm knows he’s there, judging by how he knows that Grimm can’t see him in the Distant Village. His thoughts are directed at him. He’s not actually going behind anyone’s back, he’s practically looking Grimm in his eyes and waiting for someone to help him stop the Ritual. 

I don’t think there’s a time limit for how long you can stand in the room with the Lantern while Brumm is keeping his staff jammed in it. So, in theory, you can make him stand there, tinkering with the Lantern, forever. Grimm won’t do anything. (if you can’t do that, then? that’s interesting and i would like to hear more about that?)

Another point, Brumm has two very similar, very interesting lines of dialogue:

1. “Perhaps together we can banish that livid flame and let this dead Kingdom rest in peace.” This implies that the Troupe aids dying kingdoms and cleanses the lands of dead kingdoms to make space for new ones to grow. This also tells us a detail about Brumm’s character and shows that he is probably aware of how many times Hallownest has been ‘revived’ (by sealing the Hollow Knight and by the Radiance taking over corpses).

2. “It is painful to defy the Master, but our harvest… it profanes this dark, quiet Kingdom.”

While Brumm doesn’t seem to have any trouble with physically doing any Banishment-related actions, like jamming his staff into the brazier, this might be implying he is emotionally attached to Grimm and understands that Grimm has his reasons for encouraging the Knight to complete the Ritual. The part about how it ‘profanes’ is very interesting to me, because not only does it tie in with his unwillingness for trying to keep Hallownest standing for the third (?) time but it also makes me think about a very horrible and bad similarity between the sacrifices the Troupe makes for the Heart (vessels, the troupe masters), the sacrifices the Pale King made to keep his kingdom (vessels, his children) and the victims of the Radiance (vessels, husks of dead bugs filled with her light). The Ritual adds another death to Hallownest’s disgustingly high number of them, and it also involves a Higher Being. That’s messed up. That’s just fucked up.

Now, about Nymm. He only loses his memories, which he might have lost because he’s no longer linked to the Nightmare Heart, or because Grimm took them. Wouldn’t Grimm want to punish betrayal and make Nymm remember and regret what he’s done and put him in danger due to how risky it is to regret anything in Hallownest, with how close the Void is? Brumm is implied to have been on good terms with the Troupe, the Grimmchild interacts with him in their own weird flying follwing baby way. Wouldn’t being stranded in a dead kingdom without the people he knew and remembered and cared about be a horrible punishment? It would make him vulnerable to the infection for sure. Sly and Bretta were manipulated by the Radiance, and Nymm would be easy to trick into going down to Hallownest if he remembered and wanted to go back to the Troupe. 

TL;DR: 1. serious answer: brumm, at most, goes behind the troupe’s backs to involve the knight, their summoner, in stopping the sacrifice of grimm. everything else grimm is most likely aware of and does nothing about.

2. joke answer: god just. hes not trying to kill the king like xero did and hes not killing his child and accepting a violent and dangerous source of power like traitor lord did. hes trying to help. 

3. somewhat serious but also funny answer: you wouldnt call someone going ‘hey this is kind of super fucking bad to do this how about we discuss it further by doing this thing that gives us some time’ a traitor, would you?

one day i will fucking SNAP and make an hour long video mossbag style that is JUST about brumm. i have so many thoughts.

[lihikainanea]

Vibe of the Week 06/08

First off, I am happy to announce that the very second Live Tarot Hour will be this Friday, 11 September. It’ll start at 8PM ADT, 7PM EST, 5PM PT, and gah just figure out your time zone from that. I really enjoyed the last one we did, and it’s great practice. I’ll post the rules later on this week, most will be the same as last time but this round I’ll be accepting questions in advance--that was selfish of me last time, for all my bubs in wayyyyy different time zones who weren’t awake when it started and couldn’t submit a question.

As always, you can blacklist #tarot or #Lei does tarot if you don’t want to see.

Now, on to business.

Ah, dat Full Moon vibes from last week. Real talk it gave me some crazy energy, just some weird things I couldn’t shake, and kicked off a whole week’s worth of odd dreams and weird premonitions and dug up a whole bunch of shit from my past and threw it at me.

Including Photographer Boy, if we can count him as being part of my past? He seems to stay pretty...current. And he was being real sweet to me over the weekend, and just being the Good Dude I know he can be, and like a moron that somehow erases all the copious times he was a dick. Ugh, Lei you’re smarter than this.

Double ugh, I’m mad at myself.

In any case, last week we spoke about action, but also about the need to kind of....hold off. That maybe now is not the time to go after that big thing, because there are too many little things happening for you, maybe you’re not in the frame of mind or heart that you NEED to be in to go after what you’re going after, and have it work out. The universe works in many ways and often times if she sees us running headfirst into a wall, she might hold us back a bit. It’s for our own benefit.

You may have noticed, too, that in English I tend to have trouble with homonyms. Nose and knows. Seize and cease. I know the difference between all the there/they’re/theirs but the apostrophe one still fucks me up because I think it’s possessive instead of they are. In any case, I ended the reading last week on a resounding note that what is truly meant for us will be there, waiting to be...ahem...ceased. Oops. I obviously meant seized (I think?) and I’ve corrected it now.

LE SORRY.

The decks this week: Moonology for Oracle, and the Wheel of Fortune for Tarot.

The Oracle of the week is the Supermoon:

I didn’t pull this one, it jumped out at me as I was shuffling.

Look, can I just say that it does wonders for my confidence as a reader, as the granddaughter of a great woman and a steward of part of the great family history, when I FEEL my intuition tell me something is off, and then it gets proven right? Look, intuition is hard. My intuition is hard. I just tend to think very differently from the masses and it’s incredibly frustrating, because I’ll see something and observe it my way and everybody else seems to be on a different page and it’s just...you feel crazy. I feel like I spend at least 1/3 of my life going “Are you all PRETENDING not to see this? This is a joke, right? Or shit, you really think that? Oh fuck...”

I KNEW something was supercharged with that damn moon last week.

The affirmation: Emotions are running high

Words to meditate on: emotional balance, yin and yang, peace, quiet mind, look closer at the obvious, opportunity.

That thing last week, that the universe told us to back the fuck up on for a sec? This may be the week we’re allowed to charge forward and pursue it. The Supermoon is supercharged, emotions are high but they’re positive--this is a rare moon, one that tells us that the answer is right under our nose. There’s opportunity here, rare opportunity, whether that’s the solution to your challenges or something new and exciting altogether. The Supermoon is when a new moon or a full moon happens at the moon’s closest point to Earth--so the universe is rooting for us, she’s with us on this. Don’t blow anything out of proportion, don’t fucking ignore the obvious in search of something better, and just keep putting one foot in front of the other because your path now leads you to something real exciting.

HAHAHAHAHAHA. Everybody say hi to my grandmother, kids. Because she’s definitely smirking over my shoulder for this reading. Hiiiiiiiiiiiii Lei’s grandmother, definitely the HWIC and one of the most powerful matriarchs of the Stregoneria in Sicily.

Good to see you again, Nonna.

1) Ten of Wands

2) Eight of Wands

3) Five of Wands

4) Queen of Wands

5) Knight of Wands

Overarching theme: the Moon (Major Arcana).

Hahahahahaha oh god I’m still laughing.

All Wands this week. Wands are the action cards, the “go out and get’er done” Suit, the fire Suit in all its glory and horror, so it looks like the universe has opened the barriers that she put around us last week. Not only did she open the barriers but she gave us a one hour pep talk, she brushed our hair, she told us how pretty we were, she poured 397587568458 tons of sugar down our throat, blasted gangsta rap, got us all ragey, showed us the target, slapped our ass--and then she opened the barriers.

Full steam ahead. 

Look, keep the overarching theme of the Moon in mind. Keep your fucking eyes open, and--like the Oracle says--look for the obvious, it’s right in front of you. The Moon speaks of deception, of hidden ways, of secrets, of dual personalities. Of trickery. Bear in mind that interactions you may have this week, people you may encounter--they may be trying to trick you, they may be trying to deceive you. Don’t let this hinder your interactions and don’t close yourself off, just keep this tidbit in the back of your mind so that there are no surprises.

I think the reason why the universe held us back last week is simply because we just had too much. The ten of Wands speaks of a need for reduction--reducing workload, reducing emotional stress, in general just....letting things go. Let it go. It’s too heavy, there’s too much, and it’s just impossible to carry. Trim the fat and just bring it back to the basics--surround yourself with a few people who make you feel good. Reduce your amount of stuff. Know when you’re beat at work, and ask for help. Reduce the space in your mind that you give to worry and anxiety and increase the space you give to things that make you feel good. We had too much last week, and the universe saw that we were just too exhausted to go after what we wanted but we are too stubborn to not go after it, because we are taught from a young age that opportunity is rare and we need to take it.

Opportunity is only as rare as you make it. When you look for opportunity, you will find it. Stop looking, then you stop finding.

And you know that old adage, that an arrow needs to be pulled back before it is launched forward? That’s where we’re at. The Eight of Wands is the most dynamic card in the deck, moving forward at fast speeds. It bears in mind the need to keep lines of communication open--and the Five of Wands, a battle, warns us of the consequence if we don’t. The Five of Wands is the bar fight that we don’t know why we’re in. The Five of Wands is us getting drunk and belligerent as shit, starting something with somebody who didn’t even look at us funny but we thought they did. Calm down--emotions are high, remember? Don’t start shit. It’s not worth it, and you’re likely wrong in the situation anyway. 

Communicate instead. You know people may be trying to deceive you, which already gives you the upper hand. You don’t need to smash a pool cue over their head.

Balance, kids. The Queen of Wands is there to reinforce that message. Dis bitch--I love dis bitch, she’s so much better than the Queen of Cups--love and sensuality, fire and ice, the balance of fiery passion and emotional balance that results in this incredible, never-ending burning ember that will just keep smouldering. And the thing with an ember is it can turn into a full fledged fire at any second, and it can also light other fires. You’re on the right path, kids. And not only are you on the right path, people are watching and you’re inspiring them too. Be loyal to yourself, know your path, and off you go.

And remember--dat Moon Major Arcana Energy, echoed here in the final card of the Knight of Wands--do not seek vengeance over those who deceived you. But don’t forget, either.

TL;DR: Deception is at play this week, evidenced in the Moon and ending in the Knight of Wands. Be aware--don’t let it make you bitter, but be aware. Communication is key as you surge forward here, and it can help you avoid a lot of conflict that doesn’t have to happen if you’re just open and honest. Don’t ignore the obvious, make sure you create an environment where you can succeed, eliminate that which you do not need--and rage on, you fucking flame of awesomeness.