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tobi-smp · 10 months

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you know, with hindsight now what it is I really do think a more literal reading of c!techno's chat would have helped his characterization a Lot

and mind you, this was originally intended to be the case, and very well may have been intended all along even if it wasn't usually emphasized within the lore

youtube

and don't get me wrong, I Get why it fell out of favor within the fandom. it coincides with a Very storied ableist trope that demonizes DID and disorders adjacent to it, and Can be spoken about in a way that is essentially indistinguishable from it depending on the word choice.

but the thing is ! not only does it not Have to be an allegory for DID, I straight up don't think it is At All.

because we Know what it's an allegory for. It's His Chat. there's technoblade playing the game, and there's the thousands of people watching with expectations and wants that he's compelled to meet (or, at the very least, pacify through Entertainment).

and this makes much Much more sense when conceived of as Supernatural. be that spirits, gods, demons, or anything that could fill that role. separate entities that, for whatever reason, only techno can sense the presence of and be affected by.

and of course, to an extent this is true for all creators. everyone had an audience that they were meant to entertain and the choices they made were influenced by that fact.

but technoblade came in with a Very distinct set of expectations that heavily impacted the choices he was Expected to make and the kinds of stories that he could tell. he was more or less a living legend in real life just as much as he was in roleplay, and these things were inherently connected.

and it's like !

when c!technoblade says he was peer pressured into killing tubbo at the red festival he Is technically talking about what happened within the roleplay. schlatt was demanding it from him, there's a sort of pressure there. but schlatt was also the dictator they were set to kill, and techno has never had any trouble fighting people he considered a dictator before, and certainly not Schlatt of all people.

but he WAS being peer pressured By His Audience. by thousands of people, most of which were demanding blood Because It Was The Expectation, because it'd be Fun.

out of universe technoblade made the decision he thought would be the most Entertaining, and he was right! consistently he made choices that would let him do the most bombastic Spectacles possible. And It's Great. he's Excellent at pulling dramatics and making a compelling scene that give other people room to work off of. in that sense I'd consider techno an Excellent actor, and I have to imagine that he was fun to work with.

the problem is when you then have to justify it from an in character perspective, grounded in those mushy things like Feelings with characters that can be traumatized and sustain lasting damage, Especially Without acknowledging the out of character incentive.

mind you, it's not Impossible to Create a backstory that could justify it. why a character as consistently powerful and feared as technoblade would feel pressured to kill an ally by someone he not only Can kill but Wanted To Kill. why a character as seemingly secure and in control as technoblade would lash out the way that he does to perceived betrayal, and yet consistently puts no weight onto having killed and permanently scarred an ally that trusted him.

what that'd need is tragedy. a storied history of being hurt and having to survive. building up To an untouchable god from a much much more vulnerable position. Long Lasting trauma that's lead to this deep insecurity and paranoia. and that's Possible and that's Compelling.

but it's just not in the text.

not only did we never learn basically Anything that c!technoblade was up to pre-series, we actually know Less by the end than when we started because of the sbi retconning.

it's a Theoretically Possible interpretation that's technically never Contradicted by canon, but would have to be created by scratch. it's a compelling idea for a fan fic (and one I'd like to read) and it's compelling for a theoretical recontextualization of the character, but it's just not In The Text.

meanwhile, we have the video above.

we have the Objective Fact that technoblade's decision making was often subject to the rule of cool (very Very effectively) to entertain his audience.

and most compellingly, these concepts Don't Need To Be Separate. in fact, in my opinion they're Stronger when you put them together.

because the thing is. it's Difficult to imagine techno as ever being in a vulnerable position. he is just Objectively more powerful than everyone else on the server, both in real life And within the lore. How could he have ever been afraid when he was stronger than anyone and everyone combined? when we saw with our own eyes that techno could face nearly the whole server at once and win.

but he Is a tragic character, at least he's meant to be. and that tragedy makes much Much more sense as something Inward.

technoblade as a character who Needs connection, who Needs stability, who Needs security, who Needs friendship and community and Love. but Lashes Out, Obliterates to the core of the earth, because of something that's not only out of his control but that other people Cannot Understand.

how do you explain to a child that you killed their best friend because a chorus of the undead called for his blood and you (in all the glory that he'd idolized) were unable to do anything but comply? how do you explain to that child that you beat him senseless in a pit as the restless dead jeered and laughed?

That's interesting. That's Compelling.

technoblade is idolized like a god, feared like a force of nature, and in an instant cut himself off from nearly everyone who'd considered him an ally. and that seems to be a pattern, over and over and over again. he's left isolated, and in return he faces retaliation, and in return he's always Waiting for retaliation.

and what do you say to someone who wants to kill you for being a monster? that it's Fine Actually because you only did what you did because you have a curse that compels you to? that the supernatural guided you to destroy their homes and kill their people? (rip jack manifold you will be missed)?

That Doesn't Quite Help Your Case.

technoblade as someone who is beholden to this literal cycle of violence and Loses those things that could ground him, community, stability, People, as a result. who Tries to overcome this very fact (to become a better person, in his own words as per the clip above), but is pulled back into it as a consequence of his own actions.

that's a tragedy !! that Makes Sense. that allows him to be Both this force of nature that other characters have to survive And A Person Who Is Hurt By The Same Conflict.

"I'm a person!" that fear of dehumanization makes So So Much More Sense when you see technoblade as someone who Already fears himself. who fears being a monster, who fears losing control, who has faced isolation again and again and again.

and, importantly, it doesn't have to be anyone else's Fault.

by making the source both Internal and Completely External (something that none of the other characters have any awareness or control over), you can Have techno as a tragic character without demonizing anyone else Or erasing the impact that c!techno had on them.

and in that sense, it Can be an allegory for mental illness, but not in that direct "oooooh how scary he hears voices" kind of way that people fear it looks. but in that sometimes people Will do things that can hurt others while not feeling in control. anger and mania and paranoia, things that you can't always Control and yet that impact that you have on other people still Matters.

and the answer to that is, often, vulnerability and accountability.

I think a lot about technoblade isolating himself so near entirely from the rest of the server, and slowly gathering a support system Back by the end. and I Really Do think that framing of it through this lens is a Very impactful way of breaking it down.

tubbo, tommy, wilbur, ranboo, niki, I think they'd All understand not feeling in control. lashing out, maybe even feeling justified in the moment, but hurting people they care about and furthering their own isolation.

There's Something There, and it's already In The Text. it just needs to be expanded on.

and why not do that ourselves now?

#dream smp #dsmp #technoblade #tommyinnit #tubbo #meta #long post #back on my bullshit #I really do think that his character is just outright Stronger under this framing #and I genuinely think everything post doomsday would've been stronger if he'd leaned into this #that said this is probably messier than some of my other techno analysis #because I've been chewing on it for a few days rather than my usual of rehashing the same idea for two years in a row #but I'm rusty so give me a break #also derivakat voices is a straight up banger and you can all pry it from my cold dead hands

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hehe-hoho-ohno · 1 year

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Submas canon vs fanon

The entire time I have been in the Submas fandom I have seen a lot of confusion about what is canonical and what is a wide-spread fanon. Both in the sense of people thinking things were canon when they were not, and (more rarely) people thinking things were fanon when they were not. So I thought it might be useful to put together a little guide.

Of course, there is nothing wrong with using fanon. I use most of these headcannons in my own fics because I like them and canon is dumb anyway. (Note: pokemon is a huge sprawling mass and tends to contradict itself, and there have been changes across the various games/manga/anime)

All quotations are taken from bulbapidia.

Nimbasa Trio - FANON

Elesa has no connection to Ingo and Emmet besides living in the same place. There is one interaction between them in Pokemon Masters, and while they are on friendly terms they don't appear to be particularly close. Similarly, the idea that Ingo likes bad puns/Emmet does not stemmed from their fanon friendship with her.

Uncle Drayden - FANON

The only confirmed family Ingo and Emmet have are each other.

Cilan is a huge fan - CANON

Cilan is a fanboy of both of them in the anime.

Ingo is the older twin - CANON

In the original Japanese Emmet calls Ingo "nii-san" which means older brother.

"Do you have any siblings? I have an older brother, Ingo."

- Emmet, pokemon masters

Emmet's joltik hoard - FANON

Emmet's galvantula knows the move cross poison. This is an "egg move" which can only be learnt through pokemon breeding. Since it would take several tries to get this move it probably would have left Emmet with a lot of Joltik. In theory. We don't see Emmet with joltiks in canon.

Ingo's kitty smile - CANON

He smiles like that in the manga. (Admittedly, it's not as exaggerated as the full on :3 people sometimes draw him with.) He also briefly smiles in PLA, but less cat-like.

Ingo's perpetual frown is unintentional - CANON

"<player>! Someone just told me something that troubled me deeply! They said that compared to Emmet, I'm too stiff! But that's just a misunderstanding! I know I smile when I'm having fun! I'd even say that I'm quite proud of how expressive I am when I speak! What? You say you've never seen me smile? I-is that so..."

- Ingo, Pokemon Masters

They are both autistic - FANON

They are related to the twin heros - FANON

They share similar themes and motifs to the twin heros/Zekrom/Reshiram but that's it. They have no canon relationship.

Both of them are heavily coded as autistic. However, it's never been directly stated in the games that they are autistic and (to my knowledge) nobody at Game Freak/Nintendo has confirmed anything.

Ingo has a receding hairline - (debatably) CANON

He is drawn with one in the art book. Does the art book count as canon? Until something in the main games says otherwise, probably. (Though there is some argument to be had that it might be an unflattering haircut instead.)

Ingo arrived in Hisui via wormhole - FANON

"For my part, I simply found myself one day here in Hisui, a region whose name I'd never heard... All I could remember was my own name. I was still standing there in bafflement when the Pearl Clan came to my aid."

- Ingo, PLA. (However, the art book depicts the pearl clan finding him facedown on the ground, so take his standing claim with a grain of salt)

We still don't know how he got there. Similarly, it is quite common to show Ingo arriving during a blizzard/freezing to death and generally in poor health/injured/unconsciousness. But the way he recounts it sounds much more peaceful.

It'a also common to have Sneasler be the one to find him. The art book (of dubious canon) shows a human pearl clan member finding him, and Ingo's quote seems to confirm that. It's possible Sneasler was involved but she isn't mentioned.

Ingo got amnesia from hitting his head - FANON

We don't know how he got amnesia.

Ingo remembers Emmet as "the man in white" - FANON

"I'm starting to recall a man who looked... like me. We'd battle and discuss Pokémon, I think... The words "I like winning more than anything else" flashed through my mind just now..."

- Ingo, PLA, about Emmet

He makes no mention of remembering Emmet wearing white or smiling.

Ingo calls her "Lady Sneasler" - FANON

Ingo only calls her Sneasler, no Lady. In fact, nobody calls her or any of the ride pokemon Lord or Lady because...

The ride pokemon are noble pokemon - FANON

There are 10 blessed pokemon descended from the heros of old, and these pokemon are revered by the clans and have wardens. The blessed pokemon are divided into two groups, the rides and the nobles.

The ride pokemon are not called noble pokemon, and they do not get titles. Mai talks about "the great Wyrdeer" but does not call him lord or noble.

"This suggests that even Pokémon that are not nobles can become frenzied..."

- Kamado, PLA, about the ride pokemon Ursaluna seemingly becoming frenzied

Ingo lives in Sneasler's cave - FANON

We don't know where he lives.

Ingo became a Warden because Sneasler liked him - FANON

"I showed a natural affinity for taming Pokémon, which is why I eventually became a warden. But still I wonder what my true purpose is here..."

- Ingo, PLA

There is no further information about his wardenship. There is no information on what his relationship with Sneasler was prior to him becoming her warden.

Ingo likes having photos because of the amnesia - CANON

"Ah, photographs. I appreciate having physical keepsakes—less ephemeral than memories. Would you do me the honor of posing for a photo with me, <player>?"

- Ingo, PLA, at the Photography Studio

Ingo has been in Hisui for XX years - CANON

The art book uses the placeholder XX for the amount of time Ingo has been in Hisui. Some have taken the double digits to mean 10+, however the first digit could easily be a 0. So, we still don't know. Net 0 information.

Emmet must be taking Ingo vanishing badly - FANON

We have not heard from Emmet.

***

That's all for now! I'm sure I've missed or forgotten something, feel free to add stuff in the reblogs! I might edit the list later to add more if needed.

#submas #subway boss emmet #subway boss ingo #nobori #kudari #canon vs fanon #pla #pokemon

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media-illiterate · 6 months

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FOTV'S PLOT MAKES NO SENSE

So since this is going to have MASSIVE spoilers for the new show, I'll put most of it behind a readmore. But, TL/DR: Destroying Shady Sands would not bring down the NCR, because they have at least seven other major cities that could and would take over!

So, lets start with a map:

This is map (made by me) very roughly represents the NCR as it exist circa 2277. All major settlements are labelled, but do note that there are dozens of minor settlements scattered around the whole of California, and into Oregon, Nevada, and Mexico.

Nuking Shady Sands, even if you used the largest nuclear bomb ever made, (The Tsar bomb: coming in at 100 megatons, it is the upper limit of practicality for a bomb, because any larger and the explosion would've vented into the upper atmosphere and reduced the bomb's effect), it would still only destroy Shady Sands. Maybe vaults 13 and 15, the closest settlements to it (given their nature as vaults, however, I think they'd survive).

Notice all the other settlements? WHERE DID THEY GO, TODD?

Now, exploding Shady Sands would still be really fucking bad for the republic, but I think it would be fully survivable. We don't have hard numbers for the population of the NCR, but in New Vegas it is explicitly in the hundreds of thousands, (and rising). So we can substitute the demographics of, say, Alaska (710,000 people). The largest city in Alaska, Anchorage, has ~290,000 people living in it, as of the 2020 census. That's a large chunk of the state's population, but its not even half.

I think Shady Sands would probably be a lot smaller than the Hub or Boneyard (not to mention San Francisco, Vault City, or New Reno) because it started out as a small farming village when the others were already major settlements. So, at most, nuking Shady Sands would only disrupt the NCR, not kill it. Even if the NCR broke up in the aftermath, Lucy's vault should still be smack in the middle of the Boneyard, probably one of California's largest settlements.

But! That's not all! Not only does this show contradict established canon at every turn, it doesn't even do it well, because there is an argument to be made that a few well placed nukes could bring down the NCR!

And its already part of the damn game:

This handsome, gravelly-voiced genius already mathed out how to, as he calls it, "cut the bear's throat": bomb the NCR's trade routes to the outside world, and watch them wither away on their own. His plan is a thousand times more interesting, and more feasible, than how the show brought down the NCR (blowing up one (1) city and acting like that would destroy an entire nation).

In fact, if they really wanted to get rid of the NCR, they could've easily just made that ending to Lonesome Road canon. But, lets face it, this show cannot be bothered to even look at the games for inspiration.

I like almost nothing I see coming out of the show. Its a thin veneer of fallout painted onto a story that bulldozes the very series it claims to be part of. The zombification of ghouls, the centering of the Brotherhood, the badly written raiders playground of a wasteland: its all of Bethesda's worst writing choices, just transmitted to a new medium.

I hate it here.

#fallout show spoilers #fallout meta #fallout amazon prime #fallout new vegas #If you liked the show I don't hate you. I just wish they hadn't made the show overwrite west coast canon for Todd's petty vendetta #The show pisses on half the entries in the series because Todd can't stand people liking them more than his loot'n'shoot slop.#I don't even like the NCR. They're an imperialist capitalist hellhole. But they deserved a better story than this bullshit #Honestly if they had just placed the show in like. Montana. it would've been fine. They didn't have to break the setting for it #Anyway if you love the show and haven't played the games: please play fallout New Vegas. Its a good game.#If you come at me with 'you just hate fallout 4' I actually really liked 4! I think about it a lot! Its what got me into this fandom!

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caligvlasaqvarivm · 9 months

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Wanted to ask, is Eridan's relationship with his dad ok? Like when Eridan was learning how to use his harpoon gun he seemed very much distressed and not enjoying any of it

The only real canon characterization we have of seahorsedad is that the version of him that's Cronus's lusus is "stern, fatherly" and that he ditches Cronus for Hussie, although that last one is mostly just a Bit so I don't really count it as characterization. He's also willing to go along with Eridan "doing something ridiculous," though, again, that's kind of a Bit and it's unclear how canon that is.

((cw for abuse and stuff beneath the readmore))

As such, pretty much anything I say is going to be pure extrapolation that serves my characterization of Eridan, and I can't really back it up with hard textual evidence. But, personally, I think Eridan believes his relationship with his lusus is "good" in the way that many children growing up beneath strict, emotionally neglectful, and even outright abusive parents do.

We know that Eridan has very few friends. He doesn't even really talk to half the people in their group chat, and according to Feferi, he's never spent more than a few days underwater, total, in his whole life. Add onto that that lusus murder (and, by extension, the culling of the orphaned troll) has been his duty long enough that he describes it is "the only thing i evver did," I think it's a reasonable assumption to make that he also has no IRL friends, aside from Feferi.

And to give an idea of how old Eridan was when he started having to murder lusii, here's how old Vriska was when she was expected to start feeding spidermom:

This, and the fact that Dualscar was called "Orphaner" because the job of feeding Gl'bgolyb was his even into adulthood (as he lived before the Summoner's rebellion and the removal of adult trolls from Alternia), and the fact that no one, including Feferi, ever shows any gratitude towards Eridan for performing the job, supports the idea that feeding Gl'bgolyb has always been a violet blood's responsibility. After all, Feferi makes overtures about not being better than other trolls, but she sure does revel in being royalty when she can get away with it. It'd be in character for her to not be particularly grateful to Eridan because she sees lusus murder as fundamentally being his responsibility, especially if he started when they were both REALLY young.

In other words, Eridan was expected to start murdering lusii (and by extension, other trolls) from the moment he was old enough to do so, which, judging by how old Vriska was when she started killing trolls for Spidermom, is not very old at all.

Also, given the lifespan of violet bloods, it's entirely possible - and my personal belief - that Seahorsedad was Dualscar's lusus as well as Eridan's. Even without that being the case, since it was always Eridan's job to hunt and kill lusii, the biggest possible culprit for inducting him into his role would be his lusus.

And let's be clear, I think the fact that having to murder lusii/trolls is the biggest culprit for what's fucked Eridan up the most. The pressure of having the safety of the entire race on his shoulders, the fear of Gl'bgolyb and what happens if he ever fails, and the guilt of taking lives (which we do know Eridan thinks about) have left him with genuine struggles caring about other people, a nasty martyr complex (which isn't unjustified), extremely unstable and negative emotions, shattered interpersonal relationships, and a deep, nihilistic sense of resignation towards his place in society. The latter has directly led to him attempting to embrace that place by tricking himself into thinking he believes in hemocasteist, sea dweller supremacy rhetoric - which his actions contradict - because, without the game's intervention, he had no other options available for him but to become a key figure in the imperial army, continue murdering other sapient creatures until he died, and watch all his few friends die before him, either when they got culled, killed on the battlefield, or purely dropped dead of old age.

And, like... a parent who does that to their child, even if we assume the absolute best (that Seahorsedad does genuinely care about Eridan), can't possibly have a fully healthy relationship with said child. And I think it's not unreasonable to assume that the best is not what's happening between Eridan and Seahorsedad, because Eridan's psychological profile is so fucked up that I highly doubt he was receiving much, if any, actual affection or support from his lusus. Personally, I think his lusus was "stern and fatherly" in the worst possible way - high expectations, no emotional warmth, and complete disregard for Eridan's psychological well-being, as long as he was producing adequate results.

Because Eridan craves attention, and has very little distinction between good and bad attention. He's naive and trusting to a fault, hardly ever suspects anybody of lying to him, and has basically no social skills. These all say to me that Seahorsedad is just, like... not giving him any emotional attention at ALL.

And poor Eridan is just 13 years old - still too young to fully realize how poorly he's being treated by people who are supposed to care about him. Like, yeah, he's completely obnoxious and exhausting to talk to, and you can't really blame Feferi or Kanaya for being sick of listening to him, but at the same time, some of the shit they do to him as a result is honestly just mean. Like Kanaya is just actually bullying him- training him up to be a wizard as a joke, shitting on him behind his back with Rose, making fun of him to his face - and yet:

He's just that fucking desperate for people to care about him and support him; I can't help but think he's just not getting that at home, you know?

So I think if you asked Eridan, he'd say that his relationship with his lusus was good, and that his lusus was proud and noble and stoic, and absolutely a great custodian, and there were no problems at all.

But I think if you were to dig deeper into their relationship, you'd start to hear worrying things like that Eridan never got to celebrate Twelfth Perigrees, and was instead dragged out to go lusus hunting because it was particularly easy to do so on that day. Or that his lusus had to pull the trigger FOR him the first time they ever went hunting, because his own hands were shaking too hard. Or that he'd be locked out of the hive every time he cried, until he stopped crying altogether. Or that he thinks he's never been sick a day in his life because he was never allowed to have an off day and not go hunting and now he's just used to ignoring any and all symptoms. So on and so forth.

He reacts EXTREMELY POORLY to Feferi saying she feels like she needed to look after him - more poorly than to the initial news that she was trying to break up with him:

And I think that's because weakness was punished in his household growing up. He wasn't allowed to be weak - he was nobility, royalty. He had duties, responsibilities. If he faltered, their whole race died. And when you consider the fact that "you have to kill things for the good of everyone you care about, all the time, constantly," is the abject lesson that's been hammered into him since he was old enough to walk and talk, the fact that he's so incredibly fucking adamant about murdering angels starts to be a little... sad. He's just stuck in that mindset. He doesn't know how to escape it.

So... yeah. In summary: his relationship with his dad is great!

#homestuck #eridan ampora

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utilitycaster · 20 days

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You have been watching CR so much longer than me, and I'm curious to know your take on TV Show Canon interfering with or replacing Live Play Canon? On the latest 4sd, Sam mentioned that they're sort of in a schrödinger's Canon, where in one instance the show and campaign have two opposing cannons and they get through it by not directly addressing one or the other. The example he gave was Highbearer Vord, who was an old man in campaign 1 and a woman in the show, whom Matt referred to by name or as 'they' in campaign 3.

Personally, I've never been precious about adaptations changing or ommitting things, and I didn't care about the change from the campaign to the show, but for some reason, the show changing the campaign gives me pause. I also personally love the show! Campaign one was my favorite, especially the chroma conclave arc, and I love the tv show just as much, so I don't know why I would be precious about one over the other? I think maybe I'm worried about changes retroactively impacting the campaign because I already saw and loved the campaign as it was and I don't want it to change, whereas the show is currently being created and so any changes or adaptations just feel like their own thing that I get to see unfold.

The change I mentioned is very small and doesn't really impact much, I'm just wondering what your preference would be for this practice in general! I think that the cast mentioned that some changes will be made to the beginning of the Mighty Nein's story for the upcoming show. In a hypithetical future campaign, if someone mentioned the M9, would you prefer it to be in line with the campaign or the tv show, would you prefer if it was vague like Vord, or is it dependent on what the changes are?

For me it would be dependent on the scale of the change and what it is. Honestly, for Vord I don't even find it in conflict in the present campaign (ie, in 843 PD); while obviously Vord's gender is different between the canon of Campaign 1 vs. the Legend of Vox Machina and those are taking place as two versions of the story in the same time, I just assumed that in 843 PD Vord was figuring some shit out re: gender and pronouns. (I'd also add that Vord's description during Campaign 1 itself varied wildly; Matt's changed character pronouns before in the past and I don't know if it's been deliberate or if he forgot but it's not a big deal).

I think if we're talking about scenes that were not visible in the campaign and were expanded upon in TLOVM (eg: getting to see more of the Briarwoods or the Chroma Conclave plotting without Vox Machina present), treating them as canon within Campaign 3 is fine; honestly those probably were canon in Matt's notes anyway, just unseen. Small things that aren't plot critical - changing a character's gender or appearance, for example - are also fine by me.

The issue arises if we get into actual plot conflicts - for example, the party splitting during the Feywild and Westruun arcs in TLOVM vs. Scanlan and Grog being present in the Feywild in canon. In that case, resolving the two is not possible and I don't care for attempts to make it so. I don't generally care for attempts to justify a cast mistake or canon contradiction and make it all lay flat when the answer sometimes is just "this is improv and they forgot", and this feels similar. Like...if Kamaljiori were to show up in Campaign 3, that would be valid, because he doesn't die in Campaign 1 and does in TLOVM, and when we're watching the streaming campaigns we should defer to campaign canon. I don't think it's fair to Campaign 3 to try to play it with an eye to animated adaptation, so any ripples from that can be addressed if an when they come up. But for stuff like Vord's gender, as long as you get the presence and the vibe right, details can be altered. The same, presumably, will be true for mentions of the Mighty Nein if there is an Exandrian-set Campaign 4.

For what it's worth, that is what I expect when the cast mentions changes to the adaptation as well. Like...look, if I'm wrong about this there will be other discussions to be had, but I think the idea that Molly won't die in the Mighty Nein adaptation is a rather desperate and unrealistic one since that sort of derails the entire rest of the campaign both plot-wise and thematically. Fine for AU fanfic, though I'm personally uninterested, but a poor adaptational choice. But changes like splitting the party between the Feywild and Westruun, or Grog becoming weakened, or Vax communing with the Raven Queen a little earlier and at a smaller temple, or Vex facing Saundor alone, all maintain the core vibes and themes while dealing with time constraints and letting Pike be more present. If someone were to ask Vex point-blank "was Scanlan there when you fought the guy who had that cool bow you're carrying" in Campaign 3 I think the answer should be "yes"; but that's not actually important. What's important is that Vex faced a guy who had been consumed by bitterness and grudges for a weapon that she ultimately carved the word for "forgiveness" into as a personal reminder. An adaptation should retain what's actually important to the story, but changing what hangs on the same fundamental fixed skeleton is fine.

#answered #Anonymous #cr tag #good question!

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princeblue · 2 months

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People wail and cry for stories that focus on platonic relationships and then discards all platonic relationships for romantic ones. And I feel like the kny fandom is a really good example of this.

Demon slayer is a straightforward story with family oriented and goal driven characters and a story that focuses on the bonds of platonic relationships forefront and center.

Tanjirou wants to avenge his family, keep his sister safe and turn her back to a human.

Zenitsu wanted to honor his gramps (yes that’s his actual reason and I will not argue on this)

Genya wants to apologize to his brother

Sanemi wants to keep genya safe

Shinobu wanted to avenge kanae

Giyuu wanted to avenge/honor his sister and sabito, protect Tanjirou and nezuko.

Muichirou later on wanted to live his life for his brother

Even kokushibos whole thing about how he Hated yoriichi and wanted him dead and to kill him vs seeing a genuinely sweet and caring and loving brother in yoriichis pov and everything kokushibo had ever stood for since yoriichi left/their mother died being contradicted in an instant when we see the flute in his clothing after he dies.

And so on and so forth.

And like anyone ever focuses on, and argues on. Is ships, canon or fanon, and sexuality/gender headcanons. For a series that is set in taisho era japan on the brink of World War One.

And I understand queer people existed during these times and that they had conflicts with themselves and others and etc, that comes with anyone in any time period. But it is still not the forefront of the story, platonic relationships are. All our romantic relationships just, do not have the same significance or impact on the story I have to say.

Obamitsu was a small (and beautiful/painful) moment at the end of the series, tankana didn’t actually happen until the Very end. Same with zenitsu/nezuko, aoi and Inosuke were the same as tankana. The uzuis got their one season but it was about finding each other and then killing ume and gyutaro. WHO speaking of, were literally conjoined together because they didn’t want to leave each other because of a promise neither remembered until they were actually dead.

I could even bring up gyomei and his ordeal with raising orphans and his relationship with genya, so on and so forth. There’s countless amazing platonic/sibling relationships. And yet I’m seeing stupid ass debates on Twitter about how an mlm couple could conceive and have descendants towards the end of the manga. Like ??

(And not to mention how people will horribly mischaracterize complex characters to toxic daddy abusers and woobify the other partner, most typically in mlm ships which would constitute as fetishizing imo.)

And I’m not saying it’s not valid to project or headcanon for fun, because I have also done that many times!! Aroace sanemi, bi genya, genderfluid genya! But there’s a line to it and everything else, when you start discarding the importance of platonic bonds to characters in favor of the romantic ones (aka my biggest problem with people who ship Sanemi with characters because 99% of the time they do this with him and Genya) then it’s no longer fun and it’s no longer cool and it in fact, makes you look stupid.

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snowbellewells · 2 months

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CSSNS24 ONe Shot: "On Wings of Storm"

This canon divergent AU was intended to be a shifter one shot, but I don't know that the character is a shifter in the strictest sense, as there is a curse and magic involved. It is set sometime post Milah's death in Season Two, and then embarks on a different path from there...

I apologize ahead of time for any errors that I might need to come back and fix; I was writing this right up to midnight and didn't have enough time to edit fully. My beta for this year's @cssns @myfearless-love did absolutely brilliant work, catching so many typos and run-ons and confusing phrases. She was invaluable and deserves so much love for all her help! Anything left over is 100% my fault for hurrying to finish.

**I am thrilled to be reposting now with the gorgeous cover artwork created for me by @motherkatereloyshipper! She captured so well the drama and intensity of the ship's danger during the storm and the petrel coming to her aid. I just love it!! Thank you, thank you, thank you SO MUCH @motherkatereloyshipper!**

Please enjoy, and I'd love to hear what you think!!

Summary: Killian Jones has lost everything and everyone he ever held dear. All that is left for him is vengeance and pain. None could have expected the strange twist of Fate that would change everything, or the surprising companion that will come to touch his heart in ways he would have no longer thought possible.

“On Wings of Storm”

By: @snowbellewells

“Attention, you bilge rats!” His angry voice rang out unmistakably over the planks of the majestic ship - carrying clearly despite the buffeting wind and rolling sea beneath. The power in the sharply accented words cracked like a whip, causing every member of his crew to flinch nervously and stand at attention to do their captain’s bidding and avoid his ire. Those who made their home and livelihood upon the Jolly Roger - even the few remaining grizzled veterans who’d once served on her decks when she was the Jewel of the Realm - knew her captain’s temper was perpetually on a knife’s edge. The harshness and cruelty of the lives they all lived, and the loss and betrayal Captain Jones had weathered, would bow and break many. It was understood not to cross those who had survived and been hardened by it.

Yet, even with that knowledge, the cause of his current tirade was unclear. When the ship had docked at the remote port, some had stayed aboard to handle various duties and keep watch while others went ashore to roam and shop, or to visit inns or brothels, but all had been attending to their assigned duties and nothing was amiss. However, the thunderous look upon their Captain’s dark brow spoke volumes. Something was amiss, and he would see it put to rights. Pity the fool who was found at fault. The cutlass at his hip bounced gently against his leg, and the still awe-inspiring metal appendage which had replaced his left hand mere months ago glinted menacingly in the low moonlight as he paced back and forth, eyeing each man with an intensity that would make anyone tremble.

It was old Mullins who finally dared to put the question to the Captain gingerly when no further explanation or action seemed forthcoming. “What is it that’s angered ye, Cap’n?” he queried respectfully, head bowed in deference as his speech drew Killian Jones’ attention. “We’ve been here aboard the Jolly and at our post since ye left. Did something happen on shore?”

Killian’s attention zeroed intently on the graying Mullins, who quickly gave another bob of his chin in respect or acknowledgement. Not about to contradict their captain, but also not knowing what had upset him, none of them could move to make it right. Those piercing blue eyes, like ice chips in Mullins’ shuddering imagination, beneath the dark, forbidding brows he used to great effect, seemed to be searching his subordinate’s face and sifting his words for any hint of dissension or deception. Finding nothing of the kind, the volatile man’s gaze swept over the rest of the crew assembled around him nervously for some time before offering the explanation in a menacing growl.

“It has come to my attention - and make no mistake, even a scoundrel such as meself has loyal allies - that some of you are dissatisfied with your position aboard this vessel. Let me be crystal clear; a place aboard the Jolly Roger is an honor and a prize - she is a marvel unmatched in speed and quality throughout the realm. However, your presence here is entirely voluntary. I have never, and will never, tolerate the enslavement of any crew member on the Jolly. Such dishonor shall not taint her decks. So, if any of you wish to depart, then by all means, leave now. But be warned; spreading false tales of captivity or coercion, thereby sullying our flag and reputation, will not be tolerated. Such lies will be rooted out and those responsible will face severe consequences.”

He paused, clearly waiting for any who might be bold enough to disembark under his watchful eye and be noted for their decision. None upon the deck moved or spoke, and old Mullins noted sadly that the only sound or hint of motion was the heavy breathing that escaped the Captain’s mouth and the heaving of his chest, evidenced by what had clearly been an angry charge from the town’s center and his impassioned outburst.

As Jones finally seemed to regain control, sending him back to work with a brisk order, Mullins couldn’t help thinking resignedly about how much the Captain had changed, in the past few months especially, but also in the years since his brother’s death. The man Captain Jones had once been - that promising but naive young lieutenant - seemed like a distant memory. Few of the current crew members had served under Jones’ proud and honorable older brother, Liam, who had been tragically struck down in his prime by treachery. Liam’s untimely death had altered the course of all their lives in ways none could have anticipated. Mullins found it painful to remember the wide-eyed, gangly lieutenant Killian had once been. That young man had spoken passionately of glory for the crown and the name of Jones, ready to follow his Captain anywhere. He had believed in righteousness and the power of individuals to shape their own destinies. That idealistic youth had hardened into a bitter and implacable man. The once-noble Killian Jones now sought only vengeance, becoming known and feared across the seas as the dreaded villain, Captain Hook. Mullins sighed and returned to his task; there was naught to be done for it.

Meanwhile, Killian Jones stood at the helm, staring out into the dark night. He sought fruitlessly for the rhythmic comfort of the waves against the hull of his beloved vessel, the solid planks beneath his feet, and the cool night air brushing over his face to ease his inner turmoil. These familiar elements had soothed him many times before, yet his agitation remained as he waited, forcing himself to take steady, regular breaths.

As he stood there, alone amongst his crew, Killian’s gaze drifted towards the gray, evening-darkening horizon. A shape materialized from the gathering twilight, drawing nearer - an unmistakable bird on the wing, yet not the familiar silhouette of gull or pelican often seen at sea. Morbidly curious, Killian watched as the creature approached, strangely silent compared to the trilling calls of most avian species he knew. Its relatively small body rose and fell on the air currents, rather than gliding with ease, weaving unsteadily in its course.

Despite having recently displayed harsh temper and callousness, Killian found himself holding his breath with each flap of wings that sent the bird painstakingly higher in the sky again, inexplicably concerned it might plummet into the rolling waves below.

As if drawn by his thoughts, the bird’s flight began to descend lower and lower. The men diligently working around him on the deck - and avoiding eye contact to steer clear of his ire a second time - seemed completely unaware of the creature’s plight. Killian finally released a tight breath as the dark-feathered bundle nearly landed at his feet. Though it seemed more a collapse than a graceful landing, it had found a resting place. He did not wish to closely examine why it mattered to him whether it had succeeded or not.

Glancing around surreptitiously, Killian stooped to gather the bird into his hand, his hooked arm wrapping around to steady and secure it against his chest. He hoped the dark attire he wore would partially conceal the fragile creature. Rescuing helpless animals contradicted the brash and dangerous pirate persona he had donned irrevocably, which had grown even more dark and forbidding of late. Yet, he simply could not leave the small, fragile bird on the planks, its strength almost spent and plaintively vulnerable.

Seeing that all was as it should be, he slipped below deck without a word, carrying the strange passenger in his arms into his cabin. Closing the door firmly behind him, Killian hurried to place the weakened creature on the table and lit a nearby lantern hanging from the ceiling to inspect its small form for injuries. It appeared fine, simply near the end of its endurance after a clearly long journey.

Just as when the bird was approaching the ship, he could not really understand why it mattered so much to him that the creature was alright. It did though, and so he obeyed his instincts and tried to tend to it as best he knew how. His new compatriot didn’t seem at all troubled by his admittedly anxious dithering and attempts at aid. The bird neither flapped nor made any attempt to flee. After a few full-body shakes to settle its plumage, the bird remained largely still, only moving with its breaths and blinking its dark brown eyes calmly at him, seemingly taking in its new surroundings. The creature exhibited an almost human awareness that it was safe, facing no threat from him.

As Killian watched, enthralled, the bird eventually seemed to settle enough that it tucked its head beneath its wing and appeared to fall asleep. Satisfied that his charge would be fine for a few hours, and needing to rest himself while his crew and ship were in order, Killian extinguished the lantern after preparing for bed. The churning anger and restlessness which had plagued him since boarding his ship was strangely lulled, and for the moment, he was too grateful to question it. Stretching out upon the Captain’s berth, he gave himself over to sleep, for once wrapped up enough in its comfort to be dreamless.

~~ * ~~ * ~~

Killian rose with the sun the next morning, habit waking him early enough to see the gray pre-dawn melt into the peach and pinkish glow of a clear new day. He stretched his lanky frame, washed and dressed before moving to the table to check on his unexpected guest. As he neared the makeshift nest he had created, he was surprised to see his small stowaway still appeared to be asleep. Startled by how calm the bird continued to be in such confined surroundings, Killian merely smiled tightly, his hand unconsciously rubbing his chest. He tried not to dwell on why the peaceful sight of a bird resting on the table in one of his old rags lifted his spirits so, as if the whole cabin felt less lonely in its presence.

He had a litany of his usual tasks to attend to, and he knew the rest of his crew would soon be active - if they were not already. Killian exited the cabin swiftly, hoping nothing would disturb the creature until it was restored enough to wake on its own, once the heavy sound of his boots against the wooden planks faded away.

However, he couldn’t avoid one quick stop before heading topside. Killian was pleased to see Turley, the ship’s cook, alone in the kitchen. He ducked beneath the low door frame and cleared his throat to get the grizzled man’s attention amidst the numerous pots and pans bubbling and sizzling on the stovetop.

“Mornin’ Cap’n,” Turley offered, with a gap-toothed smile. “What can I get ye?”

Killian lowered his voice, stepping closer to the aging cook as he explained that the rations he sought were not for himself, but for the seabird he had rescued the evening before. As he pondered why the bird’s fate concerned him, Killian found himself unsure why he felt compelled to hide his anxiety for the small animal. Anyone daring to question or mock him would regret it – if not immediately, soon enough. Was he questioning himself then?

He discarded the thought almost as soon as it entered his mind. Turley seemed pleased with his captain’s request, assuring him they still had some canned herring in their stores which he could fetch after the noon meal. Killian nodded approvingly and thanked Turley before turning to leave. Just as he did, Turley added, “Sounds like you found a storm petrel, Cap’n.”

“Oh, aye?” Killian asked, tilting his head with renewed interest, despite his desire not to seem overeager.

“Indeed, for how you have described it anyways, Sir. They’re quite rare in these parts, or so’s I’ve always heard. They tend to nest much further north, preferrin’ the cold.”

Killian nodded his understanding but remained silent, encouraging Turley’s talkative nature with a patient gaze. He was rewarded when Turley continued without pause.

“There’re many folks who consider ‘em an evil omen, Cap’n. Portents of storms and such like, but they’re such wee buggers, them petrels. I always wondered meself if they weren’t just allowin’ the winds to blow them to safety rather than heraldin’ the blast.”

Killian shook his head with begrudging humor. Even after nearly three years leading a crew of pirates rather than the formal naval sailors they had once been, he was continually surprised by their superstitious beliefs. They claim to be black-hearted, fearless outlaws, yet frightfully unwilling to take a woman aboard (even Milah at the beginning), sail under the red morning sun, or set out on a Friday.. All due to tall tales of downfall and destruction. It was just a bird, wind-rattled and knocked off-course, needing to regain its strength; certainly not some ill stroke of luck.

“I heartily agree with you, mate,” Killian said when Turley’s words trailed off, giving him a clap on the shoulder before leaving the galley. “I appreciate you finding the herring. I’ll be back for it once lunch has been cleared.”

Turley assented readily and turned back to his task, humming idly. The Captain seemed in a better state of mind than he’d been in since losing his hand, and witnessing his love’s death. To Turley it seemed nothing but good luck, and he was simply glad for it.

~~ * ~~ * ~~

Feeding the petrel at noon was a more awkward and messier business than Killian had anticipated; first he was struggling to open the sealed tin with just one hand, then handling the pungent small fish and their juices in his attempts to coax the bird to eat. Once it snatched the first bit in its delicate, curved bill, however, no more coddling was necessary. Soon, the petrel was grasping tiny herring right from the can, swallowing chunks as fast as it could manage. It emitted a rough sort of squawk in his direction once it finished its meal. Chuckling, Killian could certainly admit it was no nightingale’s song, but he chose to see it as an enthusiastic thanks all the same.

“I’m afraid that’s all for now, you shameless beggar,” he chided gently while clearing the empty tin away and wiping the table clean. To his surprise, the bird stepped nearer, lightly pecking at his fingers, almost playfully or in gratitude, not at all sharply enough to hurt. Holding his breath, Killian turned his hand open and palm up; the petrel nuzzled against his warm skin. Improbable as it seemed, the gesture could almost be called affectionate.

“You are a funny one, aren’t you?” the pirate murmured, scratching one finger lightly over the bird’s dark gray cap. He chose to ignore how his voice sounded equally fond.

When he returned that evening, the shadows outside his cabin’s windows were already long, and the sun had long sunk in the west. After its performance at midday, Killian was sure the petrel would be hungry again and eagerly awaiting its dinner. Yet, upon entering his cabin with canned anchovies, hoping they would not prove too salty for his animal guest, he found the bird absent from the center table altogether. Instead, it flitted for one spot to another at the desk in the room’s far corner near the window. It fluttered, then paused to alight upon the various open books strewn over the surface, cooking its tiny head and peering down intently at the pages. Had Killian not known better, he would have thought it was actually reading the words in Liam’s beloved tomes.

By this point, Kilian was charmed by the petrel’s odd antics, his lips stretching into an ill-accustomed smile as he watched before he moved to lay out his offering. The dark cloud that had hung over him before the bird’s arrival had dissipated. Though he couldn’t explain why, Killian welcomed the lighter mood, hoping it signified better days to come.

The petrel let out its brash trill a few more times before fluttering over to feed quickly on the anchovy, as enthusiastically as it had eaten the herring. Upon finishing, however, it did not relax as it had done previously. Instead, it flitted across the room, hovering near the window and making its distinctive call. The bird then fluttered around Killian’s head and shoulders before returning to the window, its desire for freedom as clear as if it had spoken the words aloud.

“Of course, little one,” Killian sighed reluctantly, no longer embarrassed about speaking to it as if it were human. “Naturally you would wish to return to the air.”

As he opened the window pane, the bird uttered a softer note, unlike its previous raucous cries. Killian smiled ruefully as he watched it slip through the opening and fly away. He had never considered refusing to let it go free; still, he missed the petrel’s presence in his cabin almost immediately. It might have been only a lost bird, but for a flicker of time, he felt a connection, a kinship, that had been sorely lacking in his life.

Yet, to Killian’s pleased astonishment, it was far from the last he would see of the storm petrel. While he would have expected the bird to be gone, never to return again, as days and weeks at sea went by, the small bird reappeared often - usually at first light, near the wheel where Killian was often steering, taking the night’s last watch upon himself as captain to be certain all was well when the Jolly was perhaps most vulnerable. After his intriguing initial encounter with his new feathered friend, he had learned that petrels were largely nocturnal and - like pirates and sailors themselves - rarely came ashore unless nesting. Again, that strange sense of kindred closeness swept over him; more than he had known for entirely too long. He had also learned that pairs of storm petrels were largely monogamous, and he could not help but wonder if the small gray co-pilot had lost its mate, leading it to return to the ship and humans where it had been shown kindness, strange as the attachment might seem. At any rate, once “his” petrel had begun to make recurrent appearances, Killian deliberately took the shift which found him at the helm when dawn’s first light crept over the horizon.

Though wise enough not to voice any notice or question him, the more observant and early-rising members of Captain Jones’ crew began to notice the bird’s repeated arrivals at the wheel near their captain. It seemed the small creature came solely to visit Jones and to snag a brief ride perched on the ship’s side, the sea breeze rustling its feathers until it either fluttered below deck to follow Killian at the end of his watch or took to the sky again.. Killian naturally sought to avoid seeming overly fond or doting on the petrel. For the leader of a band of miscreants and outlaws who lived a rough life by their wits and the sweat of their brows, it was dangerous indeed to show any sort of weakness. Any appearance of “going soft” could be a death sentence if his crew began to doubt his capabilities because of it.

All the same, those who worked nearby sometimes saw glimpses of his twinkling eyes or more mischievous smiles from time to time - things that had seemed lost to the past before the bird’s arrival. The cabin boy Killian had taken aboard at a port several months before - to save him from a life of abuse and privation - sometimes thought he heard snatches of the Captain singing or humming shanties under his breath when the petrel was present at Killian’s side. The boy’s loyalty, however, was unassailable and absolute. He’d never dream of breathing a word.

This continued for some time, the petrel’s comings and goings becoming an expected part of the rhythm aboard the Jolly Roger. Its diminutive gray form and rapid flight over the nearby waves became an easily recognizable sight to all who sailed upon the ship. What was more, the bird’s presence was gratefully welcomed - Captain Jones was less volatile and less prone to strike out against those who displeased him.

If the petrel had not yet proven its worth to any sailors reluctant to accept it, then one stormy night it would have silenced any doubts once and for all…

They had not taken an enemy vessel in some time, and the cargo taken in their most recent haul had been offloaded at the last port nearly two days prior. It was a good thing, too, because as shadows began to lengthen in late afternoon, wind whipped up wildly, frothing the waves and rocking the ship violently. The extra weight of a full cargo might have caused them to take on a frightening amount of water as the hull rose and fell.

At first, the men manned their posts with calm determination. A storm at sea was always serious, easily spelling the difference between life and death in how one met its ravages. They had faced many such squalls, and Jones guided them through with an indefinable but comforting mix of experience and assurance. This gale, however, seemed different, bent on their destruction as the walls of water rose and then dropped the Jolly as though it were a toy in a child’s bathtub. As they dipped, the rising swells threatened to pour over the sides and sink them permanently. The crew gripped their ropes or boards, holding tightly to whatever piece they manned, but more and more fervently sending prayers for mercy to Poseidon, Davy Jones, or the sirens that would greet them below the surface.

Amidst the rolling chaos, the rapid beating of wings swept low over their heads as a dark, familiarly recognizable form sailed across the deck and landed heavily, talons clinging to the worn leather on Killian’s shoulder. Though it had clearly fought mightily against the drafts, their petrel was claiming its place heedless of the danger.

Hardly able to acknowledge the delicate weight where it roosted at his side, even nearer than usual, Killian quickly raised his hook from the spokes of the wheel, brushing its curve over the bird’s downy underbelly in a single stroke of greeting. The bird trilled and seemed almost to rub its head against his rough cheek in affection. The exchange lasted only a moment, and in their heightened anxiety, few, if any, bore witness. Then, Killian gripped the wheel tightly once more with hand and hook, roaring out orders and encouragement, exhorting the men not to give up the fight, though the storm raged on and endurance flagged.

The petrel, not content to merely watch and ride along, was hardly finished - nor did it perch silently idle. Instead, it took to the air again, if only just, fluttering rapidly about the captain’s head, repeating its sharp, strident call, almost in his ear, and making itself nigh impossible to ignore. At first, Killian instinctively waved his hand to ward off its advances, calling out in consternation at its unusual behavior. However, it quickly became clear the tiny bird’s determined efforts would not falter.

Brow furrowed in thought, Killian squinted in concentration at his companion, finally sensing that it was trying to tell him something. Swiping the driving rain from his vision, Killian gave in and murmured low under his breath, “Alright, little one, I understand. What is it you wish to show me?”

Again, reacting as if it understood his every word, the petrel chirruped a sort of agreement and took flight again. It had to dip and bob against the lashing wind and rain in order to stay aloft, but it flapped madly, its wings battling back against the heaves of the storm. Valiantly, it hovered within sight, just ahead of the ship’s bow and almost seemed to look back expectantly, as if asking whether or not he meant to follow its lead.

Despite the tension in his shoulders, the worry and responsibility weighing upon him as the storm attempting to break them apart and bear the pieces to the depths, Killian couldn’t hold back a huff of laughter at the bird’s assumed insistence. “Aye, we’re with you,” he uttered aloud, turning the wheel just slightly to accommodate the direction in which the petrel led, shaking his head in disbelief even as he did so. It seemed a mite crazy, true enough, and yet birds survived the wild, its brutal conditions and weather, all the time. And what other chance of survival did they have at this point if the tempest didn’t slake soon? He could not see the way before them clearly enough to navigate by any of his normal methods. At the end of the day, they were all at the whim of Mother Nature, whatever their skill or experience, so the chance or fate that had brought this small creature to him and the feeling in his gut that urged him on seemed as good a course to follow as any.

Some few further agonizing minutes followed, as they still rose and fell in the grip of rolling waves. The entire crew seemed to hold their breath as the ship bobbed and soared, up and down, over and again, eyes riveted on the dark clouds and forks of lightning ahead of them and straining to glimpse in time the jagged rocks that lurked portending their doom.

Slowly, and yet more and more certainly as they persisted, the wild rocking, the careening to and fro, lessened, as though the churning water itself had begun to loosen its massive grip. They were moving into miraculously calmer waters, Killian noted with a breath of relief. The storm still howled around them, but in a bright flash of lightning, he saw that the ship had entered the sheltered lea of a hidden cove. The tall rock faces rising on either side as the Jolly sailed into their cover lessened the buffeting of the waves and allowed the ship to maintain its ballance once again. He would not have seen the entrance with the elements obscuring vision as they’d been - not without the petrel. It had led them to safety.

As if on cue, the bird came to rest atop the wheel, perching on the curve of wood between the two spokes where his hand and hook were placed. Blinking placidly, it seemed to look at him with a bit of pride before cooing softly and burrowing hits head and beak under its wing to snatch a moment’s well-earned rest.

Nodding and allowing himself a look around to take stock, Killian saw the reassurance on his crew’s faces as all realized they had made it through. Killian called out a few orders to check various parts of the sip for any damages and make certain the ship would stay in place until the storm blew itself out. This petrel with its almost sentient ability to sense when it was needed, come to his aid, and raise his spirits, would always have a safe place to rest with them on the Jolly Roger.

~~*~~*~~

Until the day it didn’t return.

The storm petrel had taken to arriving regularly every two or three days, wherever they might be sailing or how much distance they had covered, but then one evening it failed to appear. It didn’t come that night, or the next. Soon a week had passed, and still it didn’t come back to the Jolly, worrying Killian more than he dared let on.

He could not simply drop anchor and wait, nor could he leave his post, his men, and his ship, to search for his tiny companion - far dearer than even a pet could ever be. He had no way to call the bird; it had always come to him of its own accord and in its own time… but it had never stayed away for so long.

His men noticed as well, whispering amongst themselves when the Captain began taking his evening meals alone at night rather than joining them in the galley, when the door to his cabin slammed with such heavy finality that all knew it was a barrier not to be crossed until the Captain emerged again. They shook their heads in dismay when orders were bellowed more harshly or conversations were more clipped and terse. Killian Jones was too diligent a man to shirk his duties or lead them astray, yet all felt his unease and knew its cause. Many of them were aware enough to know the petrel had saved them from the storm, just as Killian did, and had grown to enjoy its visits and watch for it in their own ways. Its absence had stretched on long enough that it seemed clear something must have happened to the poor bird - not that any would say such to the Captain.

Turley and the cabin boy were the only ones genuinely close enough to ask Killian about it, and the youngster only dared question hesitantly one night as he brought the Captain his dinner tray if he had seen his gray bird lately. The dulled acceptance in his expected denial bowed the boy’s head and forestalled any further inquiry.

But that night, as young Billy left, Killian heard a light rapping sound at the small window above his bunk. Even knowing better, his heart leapt with a small flicker of hope. It was the portal by which his petrel had entered and left his cabin so many times. Scuffling and scratching followed, so weak and soft as to have gone unheard if he hadn’t been sitting alone and quiet at his desk. Hustling to the window, Killian unlatched it and carefully opened the glass pane.

To his astonishment and joy, quickly followed by rapid alarm, the storm petrel toppled from its weary perch on the windowsill and landed on the ledge just inside the room. Its tiny frail quivered, its little feathered breast rising and falling rapidly. It wasn’t a large bird to begin with; Turley’s familiar voice echoed in Killian’s head at the thought, needlessly rambling about petrels being some of the widest ranging seabirds known to man, despite being naught bigger than swallows. ‘Hardy little critters, they are,’ Killian could still hear the cook yammering internally until he finally shook his head clear. What he needed to do now was ascertain what the bird needed and what he could do to help.

Having been small already, the petrel looked terribly frail on the dusty, cushioned ledge amidst heavy tomes, navigation tools, and the other detritus of several years. It was obvious the poor creature had not been eating and was wasting away half-starved as a result. Along with that, it was soaked, its feathers in bedraggled disarray and missing in places. The bird lay still for so long without uttering any sound or even trying to right itself of explore the space that Killian feared for a horrible moment that it must be near death.

Peering closer with careful, gentle movements, he saw that the petrel was injured as well as weakened. Not immediately apparent because of how ruffled in was in general, Killian noted that its wing was bent at an awkward angle along its side rather than folded up properly in repose.

The bird hardly lifted its head as Killian stroked one finger down its back, hoping to soothe and offer even the tiniest bit of comfort. Striding urgently across the room, he swung the cabin door open, calling urgently down the hall for Whale, the ship’s doctor, to come on the double; he was needed in the Captain’s quarters.

Whirling to re-enter the room, Killian’s eyes quickly passed over the space, noting the crust of his bread left from supper and the seeds which had been baked atop it still littering the plate. He brought it quickly to his patient, then poured some water for the pitched by his washstand into the empty saucer which had held soup, hoping he might coax the petrel to eat even a morsel and gain some nourishment.

Next, he grasped a plush cotton dressing gown, hanging untouched on the door of his closest, purposefully out of easy sight. It had been Milah’s favorite to wrap up in after the rare luxury of a bath, and the sight of it or the feel of its material beneath his fingers had wrung his heart until now, bringing the hot, raging need for vengeance back to the fore. He was suddenly glad he had not parted with it though. He didn’t dare jostle the injured bird overmuch for fear of hurting it further. But while he couldn’t rub it down to dry it fully, he could tuck the robe’s downy layers around it and warm its shivering frame.

“There now, little one,” he crooned gently. “Take a bit of food and catch your breath. You’re safe now…” his voice caught and he swallowed before adding, “We’ll put you back to rights, don’t fret.”

Killian didn’t actually know if a ship’s surgeon could set a bird’s wing as he would a human man’s broken arm, but he could hear Whale’s footsteps pounding down the hall toward his cabin, and knew he would find out soon. Before Whale - or anyone else - could arrive to see him, Killian bent to carefully lean over the bird’s small form, not sure what possessed him, but following the instinct before he could question it. As delicately as possible for someone who’d had no cause for gentility in longer than he could remember, for just one breath, one single heartbeat, he brought his lips to the bird’s tiny head. Maybe it was brought on by some long-buried memory of his own mother, lost to his mind’s eye other than a voice whose soothing singing sometimes echoed in his sleep, but the kiss seemed an offering to ease fever pain and fear with hope and good wishes.

It was the barest brush contact - a mere moment’s touch - but the air in the room abruptly changed. Something seemed to shrink and then expand; the atmosphere held its breath. Glittering rainbow hues flashed in front of his eyes, and Killian jerked backwards in alarm. The petrel’s shape went a bit hazy as Killian strained to understand what was happening right before his eyes, and then his small friend began to grow and change, forcing him to take a few more stunned steps backward and wonder if he had somehow hit his head and addled his brain. His accustomed companion was transforming even as he watched.

He heard a shout as Whale - and probably a few curious others too - came to a halt behind him. Exclamations of awe and surprise were heard but left unacknowledged over his shoulder. Killian blinked, trying be sure he could trust his vision and to reconcile what shouldn’t be possible, but sat before him.

Where the storm petrel had lay near death just seconds ago, stood a blushing, beautiful young woman. She was equally soaked to the skin, long blonde hair plastered to her head and shoulders. Her lithe, slender frame trembled where she stood clutching the dressing gown around her tightly. Still, there was something about her eyes as she stared back at him silently; something that he knew deep within despite never having seen her before.

She cocked her head curiously, as if she too was trying to understand where she was and what had happened. With that motion, Killian knew without a shadow of a doubt. This young woman had been his petrel; his long lost avian friend was this lovely woman. He didn’t know how it was possible, but he was absolutely certain. And he was drawn to her just as he had been to her former guise. She took a cautious step toward him, and he held out a hand to draw her near and hold her close. Whatever had brought them together, whatever magic was at work, she was the most beautiful sight he had ever beheld.

~~*~~*~~

By the time rays of morning sunlight came slanting down the walls inside Killian’s cabin, he and his soulmate - he knew that now - had talked the whole night through. She was no longer a storm petrel but a princess what had been cursed to take on avian form, and his act of True Love - aware of it or not - had set her free. The jealous witch who’d cast the spell had falsely believed the princess was luring her chosen partner away rather than accept that he had a roving eye. Petrels were a migratory species, keeping her far from all she knew and loved - and of course, unable to speak or gain help for her affliction. For hours they sat side-by-side on his bunk, hands clasped tightly as this woman - Emma, her name was Emma - told him what she’d experience ever since the curse took hold, shifting her very reality to something unfathomable. Tears pooled in her eyes, glistening on her lashes, both while recounting her own trials, and then again while listening to the betrayal and loss that had shaken Killian’s world to its foundations as well.

The connection between them from Emma’s first appearance on his ship drew them ever closer as they talked, and touched, and inevitably joined in another kiss. This time it was two souls meeting on equal footing, and they drank deeply of the perfection that shook them each to the core. Perhaps it was always meant to be this way; the two of them bound to meet long before they ever knew. Neither could explain the pull, but it also couldn’t be denied.

As they went topside the next morning and Killian began to introduce her to an eagerly enthusiastic crew, he didn’t even try to explain, but simply savored the moment, thrilled that all the heartache and pain had finally brought him there, with Emma at his side. Her smaller frame tucked seamlessly into his side as she beamed at his new ally and charmed them one and all.

When they stood at the wheel - just the two of them again at last - Killian behind her, his arms encircling her as he steered the ship, he felt the same joy he had when she’d kept him company perched on the wheel so many times before, but magnified exponentially now that they could fully communicate and understand one another. With the salt air in their faces and the horizon in view, they set sail - a happy new beginning stretching out ahead of them.

Tagging a few who may enjoy: @cssns @kmomof4 @searchingwardrobes @jennjenn615 @whimsicallyenchantedrose @laschatzi

@jrob64 @apiratewhopines @anmylica @scientificapricot @xarandomdreamx @booksteaandtoomuchtv

@spartanguard @therooksshiningknight @tiganasummertree @optomisticgirl @lenfaz @jonesfandomfanatic

@eastwesthomeisbest @grimmswan @stahlop @belovedcreation @xsajx @bluewildcatfanatic

@winterbaby89 @undercaffinatednightmare @hollyethecurious @darkcolinodonorgasm @caught-in-the-filter @resident-of-storybrooke

@the-darkdragonfly @donteattheappleshook @elizabeethan @goforlaunchcee @mie779 @kday426 @iamstartraveller776

#cssns24 #cs au ff #cs shifter one shot #on wings of storm #ouat season two divergent #pirate captain hook #cursed emma #cs ff

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mintedwitcher · 2 months

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So I was going to reblog further on that "Scott believed Theo over Stiles" post from yesterday, only by the time I'd finished writing my addition I realised 2 things:

I was writing from a reactive standpoint. I felt a negative way about the previous reply and I let it impact how I responded, and

I ended up talking myself out of the stance that I'd started with.

So in that vein, I'm going to rewrite it here as it's own post, with the encouragement from @prettyshon10 (the OP of the previous post).

Sorry for the long intro but I wanted to be transparent about where I'm coming from here. I'll put the rest under a cut because this is going to be long.

(Edit: it got Very Long, sorry.)

The key thing to note first of all is that I wasn't giving Stiles a "free pass". I acknowledge and agree that both he and Scott mishandled the situation. However, because of the power imbalance inherent in their dynamic, with Scott being an alpha werewolf and Stiles being his Second, I do believe that there is more weight on Scott's shoulders here than on Stiles's.

The timing of the discussion alone is a misstep on Scott's part. He initiated the conversation in the rain, while they were already short on time, trying to save a girl who was dying. Stopping to have any kind of heavy conversation at that point in time wasn't going to end well, because there are simply too many details that have to be hammered out. There is too much to say, and not nearly enough time to say it all. Especially with the emotional weight of the situation on both parts.

I also say that Scott bears more weight in the moment because he is the leader of their group. Stiles might have plenty of influence with Scott, but Scott is still the leader, and so it falls to him more than anyone else to sort out conflicts within the group. That's not to say that Stiles shouldn't have come forward about it - in fact I think that Stiles should've gone to Scott first about it - but that Scott has a responsibility to their entire pack to make sure that everyone is as comfortable as possible. That is the role he's taken on among them, and in confronting Stiles the way he did, he failed in that role. (Stiles' failing is not trusting Scott to have his back if he'd told him the truth, and I desperately wish that the canon had gone deeper into the reasons why he didn't trust Scott with this. I've seen fanon interpretations that the trauma from the nogitsune could be influencing Stiles' distance, but again, that's never really discussed in canon so... it's an interesting theory, but it's another place where the show's writing fell short.)

In my initial response, I said that Scott has a "killing = bad" mentality, and I do stand by that, because from canon observation, his morality is fickle at best. He allows - and even encourages - murder when it suits him (killing Peter to "cure" himself, killing Gerard to be with Allison, killing Jennifer to save his mother) but condemns it when it doesn't (letting Jennifer go after her ritual failed, locking Peter in Eichen after Mexico, letting Deucalion and Gerard live). There are even points where his fluctuating morality doesn't make sense, such as when he refused to kill assassins who were actively targeting people he knew and loved. He persists that killing is wrong, and that murdering a Bad Guy makes you Just Like Them. But he overlooks it entirely when it suits him, when it can be justified as something that the Good Guys did. (Most notably here can be the way he overlooks Allison hunting and nearly killing Erica, Boyd and Isaac; not because their deaths would benefit him but because going against Allison would damage his relationship with her.)

It's actually a very interesting contradiction, and if Scott was an adult in the series it would be on a whole different level, but unfortunately, he's a child. Which means that his contradictions aren't exactly novel and groundbreaking, they're just... teenage conflicts. He's doing the best he can with the limited information he has, and the limited experience he has as well, and that leads to some very black-and-white thinking.

His worldview is black-and-white not as a character flaw but as a result of his age and the life he's led so far. He's still a child for the majority of the show, and so his worldview is limited by what he knows. He knows that murder is illegal and that killing people is not a good solution all the time, and that people who kill anyway are bad, ergo, killing = bad. Until he needs someone dead for whatever reason, which he can then justify to himself as "But I'm a Good Guy, and this person is a Bad Guy, and I'm going to save a lot of people from them if I kill the Bad Guy, so my actions aren't Bad because I have Good Intentions." Which is a very black-and-white thing to do. (I'm not saying this is a fault or a failing of his character, it's just an observation. This mentality also isn't specific to murder but also to many other 'immoral' actions.)

Stiles, similarly, has a black-and-white worldview for the same reasons; age and life experience. Where the two differ, however, is that Stiles has experienced more trauma than Scott has at this point of his life. So his priorities are skewed in a different lens than Scott's are. Scott is very much "Save Everyone, no matter what," whereas Stiles is more "Some people can't be saved, protect your own." Which are both very fair views to have.

Stiles watched his mother mentally decline for months(?) before she died. He was in the room with her when she died. And if the very vague timelines can be believed, he would've been around 6-8 years old at the time. There was nothing that he could do to save his mother, and there was nothing he could do to save his father from his grief after her death. I do really wish we had more lore about the Stilinski family during that grieving period, because that would likely inform the way that Stiles behaves now, too.

But what we do see from Stiles is that he is suspicious. He has one friend and he likes it that way. He distrusts anyone who gets a little Too close, especially too close to Scott. (This to me reads like a protective behaviour rather than the fanon-preferred possessive; Scott grew up with severe asthma, and Stiles likely would've been the one helping Scott deal with that throughout their childhoods.) But he's not suspicious to the point of paranoia. His suspicion is always firmly rooted in reality. He notices Matt's weird behaviour in season 2, in fact he's the only one to see Matt as a potential threat. He notices - though doesn't actually put the pieces together right away - that the kanima was familiar to him the first time he saw it. He's the one who goes through the process of actually investigating and documenting the weird shit that keeps happening to them. His pattern recognition skills are unmatched, though severely underutilised in canon.

What I'm trying to get at is that Stiles is the realist in the Scott+Stiles dynamic duo. Scott is the Optimist. Scott is the one who always wants to find the peaceful solution, who wants everyone to walk away happy and satisfied - or at the very least, alive - at the end of the day. Stiles is the one who recognises that sometimes that's just not an option. Sometimes there are going to be people you can't talk down, threats you can't just peacefully walk away from.

Their dynamic should - and normally does - function perfectly. But there are times that it doesn't, because Scott has a bad habit of ignoring or dismissing Stiles' concerns.

Which brings us (at last) back to the actual point.

Stiles had said from day one that he doesn't trust Theo. That there's something off about him. That he's not the kid they knew growing up. Scott humours it at first, but ultimately decides to make his own judgements about Theo (which is a fair choice). This, however, plants the seeds for the discord that Theo is about to sow within the pack.

(There are other instances of Scott dismissing Stiles' theories but if I get into that I'll be here for hours.)

Theo has spent all this time trying to ingratiate himself into the pack, to get into Scott's good books, and at every turn, he's met with Stiles barricading him. He's got Stiles' alarms ringing, and Stiles isn't going to drop it. So what does he do? First, he shows empathy to Stiles, by saying that he knows about Donovan - and dropping that in the middle of an already emotionally heightened moment so to deliberately keep Stiles off-balance - and then using that to plead Stiles's silence about Josh. Stiles, in response, backs off of Theo. Not entirely, but he keeps his distance, because now Theo has incriminating information about him and Stiles doesn't want Scott to know about it. Once Theo has some breathing room, he escalates. It's now not just about getting in with Scott, it's about getting rid of his overprotective packmates. So he tells Scott an edited version of the story. He lies through his teeth and Scott, the bleeding-heart that he is, laps it up. He's horrified by Stiles' involvement of course but he feels for Theo. Which is exactly what Theo wants, and exactly what Stiles wanted to avoid.

The crux of it all is the confrontation. Scott and Stiles are having two completely different conversations, and due to the timing of the moment, they can't go into further detail to untangle the miscommunication between them. So it keeps getting worse.

From Scott's point of view, he's trying to understand what would make his best friend snap so violently. He's trying to understand, to be there for his friend. He wants to help. Why can't Stiles see that he's only trying to help?

From Stiles' point of view, he's being punished. He's being pushed out and away, he's being lectured at for trying to defend himself, why won't Scott just see that he was only defending himself?

Neither of them know what the other is really saying. They both Think that the version of events in their head matches the reality, and they both walk away from that moment feeling like they've failed.

The problem - and where my own stance on the discourse is really rooted - is that the way the scene is presented, makes it look like Scott is choosing Theo over Stiles. It looks like Scott is turning his back on his lifelong friend. I'll have to rewatch the actual episode to get a better analysis of the specific placement of that scene, but that was the impression that I walked away with the first (and almost every) time I watched that episode.

To sum up: I don't think that Scott "believed" Theo over Stiles, but to the characters, it would feel that way. The problem is that fandom tends to project themselves onto the character they like more. I've seen people insisting that Scott underreacted to the situation in equal measure to the people insisting that Scott overreacted.

I think it's kind of fascinating how our personal preferences interfere with the way we interpret media.

#teen wolf #character meta #scott mccall #stiles stilinski #theo raeken #long post

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middle-earth-mythopoeia · 2 years

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Yes, there are gay characters in Tolkien’s books

There seems to be an entrenched view among Tolkien fans that Tolkien did not write any gay characters, and that by interpreting any of his characters as gay you are going against what he would have wanted. Homophobes obviously believe this very strongly, and have always been hostile towards queer fans and queer interpretations of Tolkien’s works. Many members of the LGBTQ community also believe that they’re contradicting canon when they interpret Tolkien’s characters as gay—the only difference is they don’t mind doing so.

But is it so against canon to interpret any of Tolkien’s characters as gay? The assumption that Tolkien did not write gay characters hinges on his Catholicism, but I’m going to explain why this is flimsy reasoning.

First, it should be noted that Tolkien didn’t leave any writings expressing his views on homosexuality, so there is no evidence one way or another. But it seems relevant that Tolkien was good friends with W.H. Auden and corresponded with him over multiple decades. They first met when Auden listened to one of Tolkien’s lectures at Oxford and was inspired to learn Anglo-Saxon. Auden loved Tolkien’s poetry and prose and defended LOTR from critics at a time when it was seen as an unserious work in an unserious genre. Did Tolkien know Auden was gay? We don’t know for sure. But there’s at least a chance that he did: the secret of Auden’s homosexuality is one he “loosely kept”, according to an article in the Guardian.

So, Tolkien was friends with a gay man whom he may or may not have known was gay. But are there gay characters in Tolkien’s books? Unfortunately for the homophobes, even if you believe that Tolkien opposed homosexuality on principle, that still doesn’t mean no one in Middle-earth is gay. Actually, no one in Middle-earth is Catholic. I mean that literally, in the sense that Catholicism does not exist in the time period Tolkien wrote about, but I also mean it in the sense that Tolkien’s characters need not adhere to the tenets of his religion, even if it’s not named. Why would they?

It shouldn’t be controversial or surprising to point out that writers can, and often do, write characters that live very different lives from their own. Needless to say, Tolkien didn’t condone the actions of the antagonists of his work, but what about the protagonists? Are we to believe that all of them act in an unfailingly Catholic way at all times? In Laws and Customs of the Eldar, it is strongly implied that (especially in their younger years) Elves do have sex for pleasure and not just to beget children, something that is discouraged by Catholicism. That’s just one example.

(Please note that I’m not arguing that Tolkien’s Catholicism had no influence on his writings, because he explicitly said that it did. I’m saying that Tolkien’s characters themselves are not Catholic and do not necessarily behave like Catholics. So even if you think that all Catholics believe homosexuality is wrong, it has no bearing on Tolkien’s stories.)

Another line of reasoning goes that homosexuality is too taboo for Tolkien—but I have to wonder if people who believe this have read his books at all. The Silmarillion is full of taboo subjects. Túrin and Niënor marry, not knowing they are brother and sister; they find out the truth, and that she is pregnant, and they both commit suicide. Eöl’s relationship with Aredhel is one that, even if it didn’t start out as controlling and abusive—although I suspect it did—it clearly ended up that way, and depending on your interpretation of the text, he may have raped her. Celegorm attempts to force Lúthien to marry him, which would also involve rape, and there is a passage that implies that Morgoth also intends to rape Lúthien. Neither incest, rape or abuse are too taboo for Tolkien—neither are suicide, torture or mass murder, as the rest of the Silmarillion shows.

I don’t want anyone to take this in bad faith: I’m not saying that being gay is comparable to incest, rape or abuse, and I’m part of the LGBTQ community myself. What I am saying is that Tolkien clearly did not shy away from certain subjects, including sexual taboos, simply because they’re taboo. If you’re going to argue that none of Tolkien’s characters are queer because it wasn’t accepted at the time, that’s very unconvincing given the other subject matter in his books.

There is another reason why I think there are gay characters in Middle-earth, and it has to do with Tolkien’s inspirations. It’s well understood by Tolkien fans that you can see echoes of other mythologies in Tolkien’s works. But which ones? When Lúthien brings Beren back from the Halls of Mandos, there are obvious parallels with the myth of Orpheus and Eurydice—though the genders are reversed, and Lúthien succeeds where Orpheus did not. There are parallels between Túrin and Kullervo. There are numerous examples of this kind of thing throughout the Silmarillion and LOTR. Even the name Middle-earth clearly has its roots in the Norse name Midgard. There are some influences that Tolkien explicitly acknowledged, like the Kalevala and the Völuspá, and some that Tolkien scholars have only theorized about. While there are some scholarly articles on Tolkien and the Aeneid, one thing I have never seen anyone discuss is the parallel between Beleg’s death and the story of Nisus and Euryalus.

In the Aeneid, Nisus and Euryalus are a pair of friends and lovers who are fighting for Aeneas in Latium. Nisus, the older of the two men, is said to be a skilled javelin-thrower and archer. Nisus proposes a night raid on an enemy camp, and Euryalus insists on going with him. During the raid they kill many men in their sleep, collecting some of their armor as loot, as was customary. But when they leave the camp, the glint of light on a helmet taken by Euryalus is seen by a group of enemy horsemen, who capture and kill him before Nisus can stop them. Nisus is distraught and kills many of them in retaliation, ultimately dying beside his lover’s body. (In some versions, it’s a stolen belt, not a helm—but the constant motif is the glint of light that reveals Euryalus to the enemy.)

There are so many similarities with Beleg and Túrin that it cannot be a coincidence. Beleg and Túrin also fight side by side, first on the marches of Doriath and later when Túrin is an outlaw. They are very loyal to each other, and clearly love each other. Like Nisus, Beleg is known to be a great archer. Meanwhile, although it does not feature in Beleg’s death scene, Túrin is associated with a particularly significant helm. There are differences too: Túrin’s captivity is the reason for Beleg’s raid on the Orc-camp, whereas Euryalus is captured after the raid; both Nisus and Euryalus are slain one after the other, whereas only Beleg dies in the raid on the Orc-camp. But there is still the overarching parallel of the night raid, in which the enemy guards are killed silently in their sleep; the raid’s connection with an attempted rescue; the chance moment that leads to the tragic death; the imagery of the flash of light; and the distraught reaction of Nisus and Túrin when they see that Euryalus and Beleg are dead. Tolkien read the Aeneid as a student and so would have been familiar with its contents.

There is also the fact that in some versions of the story Túrin kisses Beleg on the mouth in this scene. Although kissing someone on the mouth has not always been a romantic gesture in all cultures and time periods, the clear parallels to the scene in the Aeneid lead me to think that it is in this case. Whether you see the relationship between Túrin and Beleg as romantic is up to you—all that I’m trying to do is show that it’s a legitimate interpretation.

Ultimately, like I wrote here, I don’t think you need permission from anyone in order to interpret Tolkien’s stories the way you want to. If you want to interpret one of his characters as gay, you don’t need to cite obscure plotlines from the Aeneid to justify it. But I do take issue with the idea—which is so pervasive in the fandom—that Tolkien’s stories must not have gay, or bisexual, or trans people in them, and that any interpretations to that effect are against canon. At the end of the day, Middle-earth is supposed to be our world, and guess what? Queer people exist.

#lotr #tolkien #lord of the rings #silmarillion #my writing #Most of the people I encounter in the Tolkien fandom are either members of the LGBTQ community themselves or supportive of it #but once in a while the homophobes rear their ugly heads #I’ve been wanting to write a post about the Beleg/Turin/Nisus/Euryalus parallel for a while now #Plus I’m a Latin nerd myself and also studied the Aeneid in school!#For the record I call that plot line obscure because it’s obscure nowadays but I don’t think it would have been obscure to Tolkien #like I said in the post #and the parallel really adds to the romantic subtext between Beleg and Turin #I do believe it was intentional

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tiktowafel · 4 months

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hi and hello i'm back from the dead here are some 1b quirk headcanons (that may or may not contradict canon but i'm too lazy to check everything)

Kuroiro

dad had a very limited phasing quirk, mom had an ink quirk. neither had #000000 skin that part kinda came out of nowhere

despite obviously being connected to his ability it's just a mutation that appeared along with it and isn't required for the quirk to be usable -what i mean by this is that Monoma's skin doesn't turn black when he copies it

it's. a really confusing quirk mechanics wise. Kuroiro himself isn't exactly sure how it works, it just does and thinking about it too hard makes his head hurt lol

he can merge into dark surfaces. doing so doesn't increase the weight of the object he's merged into. it's like he straight up disappears.

when he fully submerges himself in a shadow, he finds himself in kind of a black void in which he can move freely (without using his muscles, i think. just zooms around somehow...) and which he can leave whenever he wants through the same surface he used to enter or another one connected to it. is it some sort of super limited alternate dimension that he can enter through shadows?? PERHAPS

since he doesn't lose his clothes when he uses his quirk, he has to be able to bring objects into the darkness with him. i imagine he can do it with all things that aren't living (them being black is not necessary because it seems to work with white shoes and bracelets) and as long as they're touching him - if he lets go of an object while in a shadow, it will just fall out. therefore his quirk can be used for transporting things, but not for storing them.

you can also explain him not losing his clothes by them being mirio style dna fabric but that's the more boring option so screw that

when jumping out of a shadow, his speed matches that at which he was moving inside of it. i think it would be cool if he could build up speed while moving through a shadow and then just SHOOT out of it and kick someone real hard

Pony

Pony actually has "two quirks" - the one that gives her horns and the ability to shoot them (inherited from her dad) and the one that gives her the appearance of a horse/pony (inherited from her mom). it's registered as "horn cannon" for the same reason why Tokoyami's quirk isn't "raven" and Mina's isn't "pink alien thing" - it's a passive mutation quirk so it gets "overwritten" by horn cannon, which is more "active" - does this make sense?

thanks to her secondary quirk Pony is much stronger than the average person and can run really fast when on all fours. she can also neigh like a horse, digest celulose a bit better than average and sleep while standing. it's... not much besides that

Pony's horn cannon quirk requires keratin to function, because it's what her horns are made of. regrowing her horns too many times causes her to suffer from keratin deficiency, worsening the condition of her hair, skin, nails and hooves

most telekinetic quirks cause headaches when overused, but Pony's ability to control her horns is very minor so that drawback doesn't really affect her

Kendo

her quirk is a mix of her parents quirks - her mom can extend her fingers and her dad has superhuman strength in his arms

enlarging her hands increases their weight a lot, but Kendo's abilities don't suffer from that because her back and arms are naturally extremely strong as an adaptation to her quirk (she can beat everyone in the class at quirkless hand wrestling - it's highkey unfair, but she can)

however, she still sometimes ends up with lower back pains if she uses her quirk too much

Setsuna

her dad does have a lizard quirk (that actually gives him a tail that he's able to detach and regenerate), but her mom's quirk is actually more similar to Setsuna's. it basically lets her detach and re-attach parts of her body along predetermined lines, and lacks the regenerative abilities

her quirk makes her basically indestructible because it lets her regenerate any destroyed or injured body part, plus she seemingly doesn't even need any of her organs to be connected to each other. her only weak point is her head, attacking it is the only way to knock her out (or kill her)

her head/brain is also her "core" - she can only regenerate body parts that are connected to her brain. i'll use the final exams as an example - if she managed to get her whole head outside the gate, she would be able to regenerate her whole body around it and pass (she would probably pass out from exhaustion, but still). however if she only got some other body part, like one of her arms outside the gate she wouldn't be able to do that because the arm isn't connected to the brain. hope you get what i mean lol

in-universe, her quirk probably isn't censored with black, so i'm guessing it looks quite gory and tends to freak people out when they see it for the first time. an upside to this is that thanks to having to deal with the sight of it on a daily basis, no one in class 1-B has to worry about the shock of first seeing gruesome injuries during hero work. they're all desensitized through safe means👍

a drawback that is shared by most regeneration quirks is that due to the rapid cell division that occurs when regenerating body parts, she is at a high risk of developing cancer. however that's far less troublesome than it sounds, as she can always just painlessly detach the cancerous part and grow a new healthy one. doctors hate this one weird trick or something

as you can probably tell from my art, i really like the headcanon that her skin looks kinda patchwork-y because her regenerated pieces are never exactly the same as the original body parts

due to those imperfections, she's extra careful about her brain pieces bc it's such a complicated organ that the tiniest change in its structure can seriously mess things up. like cause memory loss or personality changes, setsuna finds that terrifying and honestly who wouldn't!!

Tsuburaba

another 50/50 mix - his mom can create colorful smoke/mist with her breath and his dad can produce a glass-like liquid from his skin and solidify it at will

i gotta admit that i'm not sure what the "solid air" actually should be. if it was actual solid air, it would be incredibly cold, unless there's some pressure fuckery happening here. and since i kind of don't understand that hypothetical pressure fuckery i generally prefer to think that it's some different substance that's a solid in normal conditions and was just named "solid air" because the way it's created makes it seem like it.

while the amount of solid air he can create does depend on his lung capacity, the quirk itself doesn't give him any extra amount of it. in other words he has the lungs of a regular athletic teenage boy, nothing special

his actual "quirk factor" is his throat, using his quirk too much first dries it up, then proceeds to damage its walls, which can result in him not being able to use his quirk for a while. throat damage due to external factors does the same thing

he can make the stuctures created with his quirk disappear at will. it's not required, but he likes to snap his fingers when doing so. makes it look cooler.

he's only ever been shown to create stationary structures, but i like to think that he can also make mobile ones (in other words i think he should be able to make solid air weapons and tools because that's cool)

Tetsutetsu

exact copy of his mom's quirk. gotta go with the joke

along with the temperature resistance, inability to regulate his hardness and dependence on iron consumption, another difference between his quirk and Kirishima's is that turning into steel also significantly increases his weight, which allows him to hit harder at the cost of slowing him down a little

the wiki says that it was never clarified what "iron consumption" means, so it's up to me to decide - i think they meant that he needs to eat food that contains iron, judging by the fact that the (stereotypically!) rich in iron spinach is his favorite food. i don't think he eats the actual metal, lol

even when his quirk is off, his hair is slightly affected by it at all times, which makes it resemble thin metal wires. he styles it by bending it with his hands

Reiko

since it's an extremely basic quirk, i think she also directly inherited it from one of her parents i don't have concepts for them so idk which one oof

she can only use her quirk on entire objects, not parts of them

while she doesn't have to always keep the objects she's manipulating in her field of view, she has to see them in order to "pick them up" in the first place

i believe that the "can only lift things that weigh less than an average person" limitation she has in canon is supposed to explain why she doesn't just use it to throw people around, and yeah that makes sense. what doesn't make sense is why she can't pull them by their clothes instead, so i'm going to make up an explanation for that too - clothes are usually pretty thin, so trying to grab them without also grabbing the person themselves and therefore exceeding the weight limit usually requires quite a lot of precision, which Reiko doesn't have (yet - one day she'll learn, i imagine)

the term "weight limit" is a simplification, it's actually a mass limit. in other words when she can't lift something it's not because can't exert a strong enough force to counteract its weight, but because she can't manipulate this much matter at once. she wouldn't be all-powerful in space or when cooperating with ochako

speaking of the force that she can apply to objects, it can be pretty insane if she concentrates hard enough for a long enough time

she doesn't actually need to move her hands to use her quirk, but it helps her focus and visualize its effect better

as it's a major telekinetic ability, overusing her quirk gives Reiko headaches

(i'm making up so many rules and limitations because telekinesis is a BROKEN ability if you think about it enough lol)

Shiozaki

mix of her dad's ability to speed up plant growth and her mom's ability to manipulate her hair

since her vines are green, it's safe to assume they contain chlorophyl and therefore are able to photosynthetize. however, due to the way they're shaped, i doubt it's very efficient (bad surface area to volume ratio), so i suppose Ibara has to provide most of the nutrients herself. in other words i think she eats way more than the average person and drinks more water, too

failing to provide those will cause her ability to extend and move her vines to suffer, and in more extreme cases, they will just fall off. she can regrow them when that happens, but it takes time.

while theirs are obviously very different from ours, plants do have senses, and Ibara can use those plant senses of her vines as kind of an extension of her own

Kamakiri

another exact copy, of his mom's quirk this time. she actually used to be a pro hero, too (one day i might elaborate on this)

it does come with the innate desire to cut things, however thanks to his mom sharing the same quirk he received proper support so it never grew into a problem. on the other hand despite seeming scary, it's not that much to handle. he just satisfies that desire by cutting vegetables lol

by default his blades are extremely sharp, but if he focuses hard enough he can make them more blunt and less lethal

unrelated to the blades, but due to part-bug biology, he's much lighter than you'd expect someone of his posture to be.

and that's it for today~ i do have thoughts about the others' quirks but i felt like they weren't coherent enough to put here lol. maybe another day? also if anything here directly contradicts canon or if you just have other ideas, you are more than welcome to share your thoughts, i really like discussing quirks :]

#bnha #class 1b #tikto's textposts #tikto's headcanons #character tag time baby #shihai kuroiro #pony tsunotori #itsuka kendo #setsuna tokage #tetsutetsu tetsutetsu #reiko yanagi #togaru kamakiri #ibara shiozaki #kosei tsuburaba #i also had hcs for kaibara but decided i didnt like them.#the only points on the list that i still vibe with are that his quirk is the same as his dad's (mom was quirkless)#and that he never gets dizzy #god tier semicircular canals #and those two dont feel like enough idk ill leave them here as a treat for the curious ones

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