#instead we just see them fighting most of the time

[thisfeelslike-iykyk]

love languages ࿐ ࿔*:･ﾟ

hp boys x reader (ft. harry potter, ron weasley, fred weasley, draco malfoy, cedric diggory, remus lupin, sirius black, james potter, tom riddle) backtrack: inspiration: my post for pjo (here) that has the same concept

harry potter

giving: acts of service

harry always fights to protect those he loves, lest we forget the battle in the department of mysteries to “save” sirius, and even those he could not care less about (ahem draco). he’s self sacrificing, literally walking to his own death in the last book to save everyone else. and on a day to day basis, he goes out of his way to include or be nice to everyone, especially those who don’t really have friends, like luna or neville. he’s less about grand gestures and sappy love, instead preferring to care for his loved ones in practical ways.

receiving: words of affirmation

before harry went to hogwarts and met his friends, he literally received no love. petunia, vernon, and dudley would emotionally and physically abuse him. for that reason, I think harry would really appreciate someone praising him or just simply saying an “I appreciate you” or even “I love you”. also for that reason, I think physical touch might be a receiving love language for harry too.

ron weasley

giving: acts of service

oh gosh here we go, I already know there’s going to be so many “acts of service” guys on here. ron’s one of the most loyal people in the series, he’s always there for his friends and he is super selfless and protective of them. curse the movies for taking away his moment where he stands up on a broken leg to protect harry from a literal serial killer (well not really, but they didn’t know it at the time). he’s not the most, uh, articulate should we say, but he always helps his friends out.

receiving: words of affirmation

growing up in a family as big as his, ron got cast aside a lot. I mean, his literal deepest desire was to be noticed by others and not be overshadowed. and deep down he definitely knew that his family loved him, it was just kind of hard to see sometimes since his parents’ and siblings’ attention was always so divided. (side note, as an only child I could not imagine being in a family of ron’s size; one of my best friends has two sisters and she’s one of the nicest people I know, and I definitely think there’s a correlation) so if someone were to finally notice him and genuinely love him for who he is and tell him that, it would make him so happy. finally, he’s enough as he is. finally, he feels like someone loves him.

fred weasley

giving: quality time

quality time and acts of service are the big ones for fred. he’s willing to put himself into dangerous situations during the war (rip fred weasley, you deserved better) and the battle of seven potters. besides that, he thrives on bringing people together and making connections. he’s super friendly to everyone, a classic jokester, and he shows his love through the time he spends around people, especially george. they were always together. it hurts that they can't be anymore.

receiving: quality time

fred spent like all of his time with george when they were first starting weasleys’ wizard wheezes. granted, that was because starting a business takes a lot of time and effort, but it shows how fred is willing to spend time focusing on his passions. that led me to think he’d find it super important to spend time with his loved ones, and he would want his partner to spend a lot of time with him too. he uses humor as a defense mechanism and a coping mechanism, but deep down he knows that the war is actually dangerous and will have real consequences, such as bill getting mauled or george losing an ear. (or, you know, FRED LOSING HIS LIFE.) so he treasures every little moment with his loved ones.

draco malfoy

giving: acts of service

thinking about this was actually really hard. draco’s such a cold person, and he’s never shown love; all his selfless actions can be chalked up to fear and having no choice. so I had to look at when and why he married astoria. and this meant dipping into the cursed child, which I’ve never read fully but have read enough to be able to say I hate it and I don’t accept it. he truly did love astoria, even when his relationship with his parents suffered because of it. he became a better person because of astoria--miss  girl really said “I can fix him”. he even went so far as to disregard his father’s wishes when he wanted to let the malfoy line die with him. so I think when he really does find someone he loves, draco can be a pretty selfless person.

receiving: words of affirmation

gosh, just how much do people suck up to him? he was treated like a king in his early hogwarts years, and he loved it. I think the deeper reason is that he grew up without a ton of verbal affection from his family, so that’s something he craves from other places--a partner, or peers. the first time he hears an “I love you”, he’d be absolutely shocked and maybe turn cold or shut down. after some time and patience from both of you, he’d slowly begin to accept praise or loving words. if he’s feeling brave, he may even reciprocate them. only when it’s in the middle of the night and he’s pretty sure you’re asleep, though.

cedric diggory

giving: quality time

cedric spent a lot of time with cho when they were together; they would always go on dates and spend a lot of time together in between classes. it shows how much he values spending time with his loved ones. another giving love language of his is definitely quality time, because cedric is 100% a giver. he tipped harry off about the golden egg. he wanted harry to take the cup when they were in the maze. he’s just such a nice guy.

receiving: physical touch

this is for two reasons. one because I want it to be, and two because did you see his face when rita skeeter ruffled his hair in the movie? the guy was not having it, but I bet if the right person did it he’d be all blushy and smiley. also when harry went to the courtyard to tell him about the dragons, he was literally laying in his friend’s lap. and I can’t remember correctly, but wasn’t it said that he and cho would constantly hold hands? yeah. enough said.

remus lupin

giving: acts of service

remus does so much for others. he was one of the best defense against the dark arts professors for a reason. and even if his competition wasn’t so poor, I’m sure he would’ve been just as popular. he’s a natural mentor and caregiver, always there for others and sometimes neglecting his own needs because of it. he engages with his students on a personal level, especially harry, and he is always willing to put himself in danger for others, as seen in the battle of seven potters and the battle of hogwarts.

receiving: words of affirmation

this and quality time. for quality time, he spent a lot of time with his friends in school, and he spent a lot of time with harry when he was the datda professor. this time really helped grow his relationships and helped him feel close to his newfound family. as for words of affirmation, I think it’s obvious; as a kid, he never really had friends, and as a result he secretly yearns for encouragement and emotional support. kind words and whispered promises that everything will be okay. that is how remus lupin feels loved.

sirius black

giving: quality time

sirius spent so much time with his friends when he was young. he had a really rocky relationship with his family, so he gave all of his love to his friends. he and james were practically inseparable, they had such a nice connection. on top of that, after barely any human interaction for twelve whole years in azkaban, he treasures every single moment he has with his loved ones. it’s like every time he and his partner are together, he looks at them and can hardly believe this is real. but it is real. he’s out of azkaban, he’s free, and he has such an amazing partner to spend the rest of his life with. that’s decades! (I can’t with sirius’s death, I--no. he did not die.)

receiving: words of affirmation

sirius spent his childhood and adult life being rejected and ridiculed. that’s got to hurt, especially when he was literally in azkaban for something he didn’t do. he was so deprived of love and general human interaction for twelve years that I imagine he’d initially be kind of awkward or even scared when his partner first shows him love through praise or verbal affection. after a while though, he’d warm up and hopefully show that youthful, happy side of him again. also, he’d probably be big on quality time, since he got none of it at all during his azkaban years.

james potter

giving: words of affirmation

ah, finally someone who’s not acts of service or quality time! at this point I think maybe it’s just me. james is teasing and playful with his words; he’s very vocal about his affection and appreciation for his friends and loved ones. he did, after all, ask lily out pretty much every time he saw her. not at all like remus, who is a love letters and secret admirer kind of guy.

receiving: words of affirmation

james loved hearing praise and support. especially when he was in school. fuel his ego. that’s it.

tom riddle

giving: words of affirmation

I don’t think voldemort could physically feel love. I sometimes wonder if tom riddle and voldemort were different people, and honestly that’s a can of worms I don’t want to get into right now. I believe there’s some sort of theory that he can’t feel love because he was conceived while his dad was under a love potion? I have no idea. the important thing is that we all know how good tom riddle was at manipulating people. flattery gets you nowhere, they say, well clearly not if you’re tom marvolo riddle, because flattery got him everywhere. so he would use words to flatter people and show his admiration or appreciation of them, but was any of it actually real? I doubt it.

receiving: words of affirmation

honestly kind of the same deal with draco, but he's a lot worse. he wants to be treated like a king--scratch that, he wants to be treated like a god. he craves affirmation for his greatness and abilities. all his followers praise him endlessly, calling him “my lord” and sucking up to him. he also wanted his ideologies to be affirmed and supported by others. let’s face it, words of affirmation were just another way for him to prove to himself that he’s the greatest.

just a heads up guys, I'm so tired as I'm writing this so it was unedited

divider by @enchanthings

taglist: @loveinalocket, @raysmayhem-72, @stars-tonight, @toooster, @soft-likethesunset, @sheisntyou

[anthurak]

Something ironic to consider: The one time we see one of Penny's strings being cut/broken, instead of it symbolizing her breaking free, it's a prelude to her leash getting tightened via the virus.

Losing the string leads to a LOSS of autonomy.

Yeah, not to mention it also feels similar to how Penny’s strings were turned against her by Pyrrha back in Volume 3.

Really, I think it illustrates the rather narratively-ironic, allusion-flipping relationship Penny has with her ‘strings’. This Pinocchio does have strings on her, but SHE is the one to control them. The strings are part of her, because they are extensions of HER thoughts and will.

Which of course makes it all the more dramatic and shocking when Penny’s strings are turned against her in Volume 3. And even more ironic as you said when a string being broken ends up leading to someone being able to control Penny.

Even more so, I think this imagery around Penny’s strings ties into how she, like most RWBY characters, really ‘flips the script’ on her allusion.

Like how Penny’s big, important and dramatic ‘become a real boy’ moment at the end of Volume 7 when she becomes the Winter Maiden is NOT actually any kind of ‘transformation’. But rather that Penny being able to receive the Maiden Powers is PROOF, beyond all doubt, that she was ALWAYS a real girl.

And when Penny actually does get a literal transformation into a ‘real girl’, it’s both narratively redundant for her character development given the above, and was basically forced on her in order to save her life from the virus.

And if you think about it, Penny’s transformation even wound being a liability. As in, Penny likely would have had a much easier time dealing with Cinder during the final battle if she still had her mechanical body (just look at their previous fight earlier in the volume), and she almost certainly would NOT have been mortally wounded so easily.

Really, when we consider how Penny never seemed to resent her mechanical body or lament being who and what she was or otherwise give the sense that she wished for an ‘organic body’, it really starts feeling like Penny is a Pinocchio who didn’t need to ‘become a real girl’, because she ALREADY WAS REAL.

[skania]

Final Akane + AquaKane Thoughts

There are so many things to say that I don't even know how to start organizing my thoughts lol I'll also be including my final thoughts about the "love triangle" while I'm at it, so this is probably going to get long!

I've written quite a bit about Aqua/Akane this past year, so I won't be going into detail into any of the things I've already discussed up to now. Instead, I'll just focus on my thoughts on this final set of chapters, as well as my overall thoughts now that the manga is over.

I'll start with the (few) things I liked:

The Good

I mentioned before that I'm a sucker for parallels, and that Aqua/Akane having so many is one of the reasons why I couldn't help but ship them. We somehow got some very good ones in these last few chapters. We even got a scene at the Aqua/Akane bridge, the one where Akane's relationship with Aqua began and ended.

Aqua saved her life at that bridge, without any ulterior motives. And it's that very bridge that is pictured as Akane says that she has decided to live on. The imagery is poignant and pays its respects to not only Akane's arc as a character, but also to the Aqua/Akane relationship.

More than that, the parallels we got confirm things that Akane and Aqua/Akane fans like me have been saying all along:

Through it all, Akane saw him as he is and embraced the broken him. Each time, she willingly chose to get closer to him. When Aqua tells Akane that he has been saved ever since he met her, I get it. I have no doubt that for Aqua, who has been desperately fighting alone for so long, being seen and understood and loved despite all his self-perceived flaws and the darkness in him must have felt like salvation.

Akane is the one who knows Aqua the best, the one who knows him the most, the one who sees him exactly as he is and who loves all of him. Akane doesn't romanticize Aqua's flaws and his self-sacrificial nature, and neither does she idealize his virtues. She just accepts him and does her best to support and understand him through it all.

Akane being the only one who can see through Aqua's plan is enough to prove this, but it's actually not the most meaningful way in which Aka confirmed it. The most meaningful way was actually this:

Usually, whenever Akane thinks about Aqua, she calls him Aqua-kun. However, throughout her entire monologue in the last three chapters, Akane never addresses him by name. She just calls him "You". The same "You" (君) that Aka emphasized in Chapter 63.

The "You" that encapsulates everything Aqua Hoshino was: both the Goro and the Aqua.

This was a very, very deliberate narrative choice that tells you that throughout the manga, Akane was the one who loved Aqua Hoshino exactly as he was.

Aka also uses another parallel to confirm that Akane was indeed lying to Kana when she claimed that she was over Aqua.

When she finally breaks down, Aka allows Akane to be honest about her feelings, and the parallel to the Aqua/Akane break-up tells us everything we need to know.

Akane never stopped loving Aqua. She has been in love with him all along.

Ever since they broke up, Akane has been sacrificing her feelings for Aqua in order to do what she thinks is best for him. Akane's priority has always been to see Aqua happy. She is willing to do whatever it takes to accomplish that. Back when she thought that Aqua needed to kill Kamiki, Akane was willing to shoulder that sin with him just so he wouldn't have to carry it on his own. When she realized that what Aqua truly wanted was to be free from his revenge, Akane was ready to deal with Kamiki on her own just so that Aqua wouldn't get his hands dirty. Then, when Aqua pushes Akane away, Akane becomes determined to stop him from killing Kamiki because she knows revenge is not what Aqua truly wants or needs.

But that's not all there is to it. Akane wants to be with Aqua, because she loves him. And it's precisely because she loves him, and because she thinks her love failed to save him, that she keeps her feelings to herself and is even willing to help another girl get close to him in her place.

So this chapter confirmed that the one who has been making the sacrificial play, the one who truly loved Aqua, was Akane. It is, essentially, the counterpart to Chapters 148 and 149.

It's no wonder, then, that Akane's feelings and her grief are the ones we follow immediately after Aqua's death. She goes to mourn him in the place he actually died, and when she's around his family, she keeps her pain to herself in order to not worsen their burden. We see her piece together what happened, we see her break, and then we see Akane put herself together and find some solace in knowing that Aqua kept her away to protect her.

Aqua is gone, and Akane is the only one to know Aqua's truth.

A lot of people spent the entire manga trying to downplay Aqua's relationship with Akane; claiming that it was a lie, a manipulation, or what-have-you. Now that the manga is over, we can say those claims were never proven.

At the contrary, until the very end, Aqua's thoughts & actions in regard to Akane were shown to back-up everything he said about her during their relationship.

Aqua could've lived if he had asked Akane for help in killing Kamiki, but he didn't want Akane to get her hands dirty for him. He broke up with her to not bring her down to hell with him, and when the options were to either die alone or make Akane bear the weight of a sin with him, the choice was quickly made.

At the end, he's even shown wanting the same thing Akane wanted: an equal relationship with her.

Unlike his thoughts about Kana (more on that later), which are just a 'might', this is something Aqua is purposeful about. It's something he is sure he wants. It's even the last thing he thinks of before wanting to see Ruby at the dome, which we all know was his dearest wish.

This also fits the panels chosen to be shown in the "romance" part of Aqua's montage: the moment he doesn't catch Kana's ball (symbolizing that their feelings don't connect) vs the moment where he chooses to kiss and date Akane for real.

Which brings us back to the moment they broke up. That chapter was titled "Going Astray" and we now saw where that wrong turn led Aqua: to his death.

So chapter 98, the Aqua/Akane break-up, is pretty much officially the chapter that leads us to the ending we got.

Which means that what I said back in this post still applies. If Aqua and Akane had been honest with each other during that phone-call in Chapter 97, things could've been different. But truth is, it's nearly pointless to think about it, because what this all comes down to is that Aka wanted this ending and he wanted it at all costs.

So nothing could have happened any other way, because Aka didn't want Aqua to be saved. He wanted Aqua to die so he could have his forced "bittersweet" ending.

This is why Aqua and Akane had to break up, it's why Akane is practically not allowed to interact with Aqua again after their break-up, and it's also why Akane never found out about Aqua being Goro's reincarnation.

Aqua was never meant to be saved, and Akane more than anyone could have saved him. So, of course, Aka couldn't allow her to do so. It's forced writing at its finest.

This is also why Akane isn't involved in Aqua's fatidic confrontation with Kamiki. While there is Aka's typical contrived writing involved in Akane leaving Aqua to his own devices at the most crucial moment, I do think it makes sense.

I've mentioned before that from the very beginning, Aqua and Akane's relationship has been based on trust and on choices.

Aqua once gave Akane a choice, trusting that she'd be able to choose what was best for herself. After Akane made her choice, Aqua did everything in his power to help her accomplish her goal.

Ever since, Akane has been trying to do the same for Aqua.

Akane wants Aqua to choose what's right for himself. She will always respect whatever it is that he chooses, as long as it is a true reflection of what he wants and needs. This is why Akane was eager to stop his plan to kill Kamiki, she could tell that Aqua was ready to sacrifice his own future to accomplish it.

That's why, once Aqua chooses to let Kamiki live, Akane is reassured.

Something has changed in Aqua. Akane notices this and believes that Aqua has, finally, chosen to not throw his life away just to deal with Kamiki. She trusts that he has.

Personally, I'd like to believe that Akane was right. Problem was that once Aqua knew for sure that Kamiki couldn't be saved, he switched back to his original plan. Something Akane couldn't have foreseen without knowing that Aqua was the reincarnation of a dude whose issues made him suicidal... which is yet another reason why Aka could have never let Akane find out about the whole reincarnation business.

So all in all, Aqua/Akane-wise, this is all well and good. On paper.

When it comes to the execution however, it leaves a lot to be desired, because Aqua/Akane is sadly majorly brought down by the spectacular way in which Aqua's character was (mis)handled during the second half of the manga.

The Bad

Goro has always been someone who thinks his life has no worth, and this belief is deeply ingrained into Aqua. That's why I could tell that his revenge plan likely involved killing himself and making it look like Kamiki did it.

I just didn't think that he would actually succeed, because it kind of goes without saying that the suicidal character getting to kill himself is far from being a satisfying ending. Even less so when said character has shown time and time again that he actually wants to live, he is just too broken by his guilt complex to believe he has that right.

For a while there, it even looks like Aqua will make it. That he has once again started to embrace that this is a life that he wants to live.

Sadly, once Aqua realizes that Kamiki can't be saved and that he poses a danger to Ruby, all of that flies off the window and "Goro" takes over. And by "Goro" I don't mean Goro the character, I mean all the bad habits that Aqua has due to his guilt-complex and survivor's guilt.

So Aqua goes and executes his original plan, killing himself instead of looking for a better solution. Which means he started off like this:

Only to end the manga pretty much the same way, except you can switch "If Ai's gone, this world isn't-" for "As long as Ruby can live on in this world."

Though, actually, it's even worse than that, because Aqua realizes that he was wrong — dying would bother him — only when it's too late.

It leaves a bad taste in my mouth because it's like Aqua had no development through the entire manga. Cut everything after his break-up with Akane and nearly nothing changes, except the motive behind Aqua throwing his life away: protecting Ruby (Sarina) instead of revenge.

It all feels even more pointless because Aqua's death rings hollow due to how badly his character was mishandled in the second half of the manga. After the break-up, Aqua becomes a "..." bot. His character isn't allowed to grow and neither is he allowed to explore his feelings in any meaningful way, to the point that he dies confused and not knowing who he was.

Pardon my bluntness, but how pathetic is this? 160+ chapters and literally none of this guy's issues were ever solved. His character goes nowhere, only so he can be sacrificed to make the ending bittersweet for Ruby. Though for me it wasn't even bittersweet; the ending fell flat on its face precisely because Aqua's character never goes anywhere, so it's hard to feel anything other than vague frustration and disbelief at how forced the writing is.

Even the Kami/Ai - Aqua/Akane parallels were wasted because both ships ended up in the exact same way: Akane and Ai both unable to save Aqua and Kamiki. I wouldn't even be surprised if those parallels are something Aka came up with on the spot while writing the Ai DVD.

I'm sure some Aqua/Akane truthers will say "all Aqua and Kamiki needed to be saved was to be with Akane and Ai, and Akane and Ai didn't realize that" and leaving aside my issues with that kind of co-dependency, once again, that's all well and good — on paper.

Sure, those of us who ship Aqua and Akane could see it that way if we wanted to, but... did Aka make a point of clearly stating this? No, he left it to the reader's imagination, which means it's just another blank to be filled with headcanon.

Personally, I'm pretty tired of doing that, because everything there is to like about the manga may as well just be the headcanons we have filled all those blanks with.

I always say that I prefer showing and not telling, but there's a limit to everything. Truth of the matter is, if this was supposed to be the case — and especially if it was supposed to be important — then showing isn't enough. Because the majority of readers aren't going to spend hours breaking down every single Aqua/Akane interaction to draw those parallels and reach that conclusion.

Aqua dying soothed by a song by his favorite idol (Ruby/Sarina) doesn't really do it any favors either, because fact of the matter is that people who were never invested in the Aqua/Akane relationship will just assume Aqua never loved Akane back. They'll be more distracted by Kana's tropey, shallow shoujo romance, and this is something Aka allowed in his manga right up to the very end.

Aqua and Akane were the only relationship in the entire manga that got mutual, gradual, organic, continuous development. But this all came to a halt when they broke up, so at the end of the day, they're mostly left up to interpretation.

It's underwhelming.

Most of all, if you ask me, it was a terrible move, because Aqua and Akane could've been the heart of this manga. If their feelings had been properly explored after their break up, if Aqua had been allowed to think of Akane in his last moments, if all this blank-filling had been actual text, they'd have been a tragic love-story for the ages.

But Aka didn't want it to be the heart of the manga, because he had already decided from the beginning that role should go to Aqua and Ruby. Alas, he completely failed at developing that, too, because to the very end there's only Goro and Sarina. That is the entire basis of the Aqua/Ruby relationship and dynamic, and it gets one single chapter where it's explored beyond that, only to immediately focus back on Goro and Sarina as Aqua lies dying.

Goro couldn't save Sarina in his first life, so he wastes his second to do it. He jumped at the chance to free himself of the burden of that guilt without even bothering to think of how much his death would hurt the very person he wanted to protect.

Which takes me to...

The Ugly

Turns out Kana was pretty much just a mixture between Fujiwara and Maki, after all. Except that unlike Maki, she never grows (Aqua literally has to die for her to do so) and unlike Fujiwara, she's overused instead of underused.

Aqua and Kana are portrayed as shallow to the end, and I'd even go as far as saying that the narrative pokes fun at Kana for it. Even during the funeral, she puts on a hat that's reserved for family members and it literally falls off her head when Miyako slaps her lmao

Since this is a manga and not real life, the way Kana's outburst was handled in that chapter is likely meant to be contrasted with the way Akane's own grief was handled, because it pretty much embodies all the differences between both of their relationships with Aqua through the manga.

Kana is focused on herself and on her pain. She thinks Aqua was murdered, but she still irrationally blames him for it, too blinded by her own pain. Aqua was murdered, but not being able to confess to him properly is still at the top of her list of grievances. She is also shown overplaying that one conversation she had with Aqua about Aqua having a death-wish, as if Aqua somehow agreeing to not say that he wants to die was some vital promise that he broke.

Meanwhile, Akane focuses on Aqua. On what Aqua felt, on why he did what he did, and on what he would have wanted. Even her wish to be by Aqua's side is expressed through Akane saying that she'd have been willing to shoulder his burdens with him, no matter where that led them. It is also Akane's understanding of Aqua that helps her to find some solace and to overcome his death.

Kana always looked at Aqua from the outside-in, idealizing and romanticizing him, while Akane was Aqua's partner in every sense of the word. That's why Akane gets all the insightful narration about Aqua while Kana just gets to make a fool of herself at his funeral.

So to the very end, the dichotomy between "Ai" and "Koi" does perfectly illustrates the contrast between the two sides of the Aqua love triangle.

Kana was infatuated with the Aqua that she built up in her head, and focused on what she wanted Aqua to do for her (support her unconditionally), and what she wanted to be for him (his only idol), rather than on Aqua himself as a person.

As for Aqua, during his last moments, most Aqua can say about Kana is that it might be good to respond to her feelings. Might. He spends the entire story knowing Kana is at his beck and call, he even makes fun of her for it (you're so easy to manipulate, yadda yadda), yet when the opportunity to date her presents itself, most he can say is essentially "it could be cool I guess." He even pictures her pulling on his arm to get his attention, while with Akane, he pictures himself facing her and looking straight at her.

So to Aqua, Kana was at most a teenage crush. His feelings for her weren't deep or relevant enough to have any sort of impact on his character, while he outright called the year he spent dating Akane his happy days. An entire year that he spent without Kana even being in his life, mind you. Meanwhile Kana was out there living an entire shoujo where she's the heroine and Aqua is the male lead 😂

That said, I still think Aqua, who I'm sure must've broken a record at being bad at understanding his own feelings, was likely mistaking admiration for romantic attraction, and that he would've realized this pretty early into dating Kana.

The anime is even clearer about this because Aqua's reactions to Kana are paralleled to Akane's who is, quite literally, a fan of Kana.

But even if he wasn't, it doesn't really matter, because it's shown very clearly that Aqua deeply values being understood (to him, it feels like salvation) and that Kana doesn't really understand him. So had they dated, Aqua would've had fun at first, sure, but his emotional needs wouldn't have been met; instead his job would've been to meet Kana's. It just would've never worked in the long term.

Now that the dust has settled, I can say for certain that if Aqua had been allowed to have a happy ending, it'd have been with Akane.

So once more, this is all fine on paper. The problem is that Aka takes it too far. The whole Kana business takes too much panel time for no discernible reason other than to... bait readers? I've even seen some say that Aka intended to mock them.

But even if that were the case, considering that those same readers are likely going to walk out of the story thinking Aqua and Kana are a tragic ship that loved each other because of all the bait, who's really the butt of the joke? Them or Aka himself?

Conclusion

I've always been pretty clear about being an Akane fan first and foremost. Despite all my Aqua/Akane meta, I had no emotional investment in whether she ended up with Aqua or not, as long as she got a satisfying ending. That said, by principle, I most definitely didn't want Aqua to end up with Kana, because that'd be like rewarding Kana for all her crying and whining when she never even tried to understand who Aqua was as a person and I've already gone through that in Naruto, thank you very much.

So the two silver-linings about this ending are that Akane stayed amazing to the end, and that Kana didn't have Aqua handed to her on a silver platter. But considering just how much panel time Kana's meaningless crush takes up in the narrative and how side-lined Akane got after the break-up, it feels like a pyrrhic victory lol

Akane is still the best thing about the manga, and I'd say that she got by far the best ending of the bunch. I'm not sure if I'd call it satisfying, because Akane's one goal was always to save Aqua and she didn't get to accomplish that. But at the very least, she got a good ending, all things considered. She got to protect what Aqua entrusted to her, and she got to show just how emotionally strong she is.

As for Aqua and Akane, AquaKane could've been incredible if only Aka had done them justice, but he didn't. I joked before that the Aqua/Akane development was so good that it's like it wrote itself, and I actually think that's exactly what happened. Aka made things up as he went along, and he allowed Aqua and Akane to develop together in ways he didn't necessarily plan nor foresee. But as soon as he started heading towards the ending he envisioned, he dropped the ship, likely because he had already established everything that would be relevant about them by then, and then proceed to leave a lot of it to the discretion of the readers.

While I'm sure that'll be enough for some, I'm afraid it's not really enough for me. If you were to ask me if I'm satisfied with the way they were handled, my answer would be: not really, but it certainly could've been worse lol

In my opinion, they're the biggest wasted potential in the manga (which is saying something, because the entire manga is wasted potential), and their potential was wasted simply because they're the ones who could've actually led us to a happy ending.

Aka didn't want that ending, though. He cared for his vision more than about his characters, and his vision was literally just an ending where poor Ruby would be a star that shines brighter "the darkest things get". Nothing else mattered. LMAO. As if Ruby hadn't already gone through enough!

Oh well, at least we're finally free!

[rikosseen]

Gun+Goo x Reader: Amusement Park

Anon request

The junkyard is a place of solace for Gun Park. It’s where he’s allowed to just be. And because it’s a place that he regards as a home, Jonggun has let very few people know about it aside from his two closest associates; you and Jongoo. However, as he jolts awake from the noise of a bickering pair of rats, he wonders if he should’ve been silent about his main place of residence.

“Out.”

You and Goo turn around to see a disheveled Gun pointing at the door.

“Gun!” the blonde perks up, running towards the disgruntled man.

“Out,” Gun repeats, his tone sharper as he rubs his temples.

While the two of them engage in their usual back-and-forth, your stomach growls audibly. And knowing the man that gun park is, the fridge must be fully stocked up. So being a proud member of the big back community, you naturally head there. Only to find random dairy products and vegetables. No snacks. Honestly, how does Gun live without enjoying the small pleasures of this world? Talk about discipline. Before you can scavenge through the cabinets, a hand clamps onto the back of your collar. You’re dragged toward the door like an unruly cat, and find Goo in the same predicament. Kicking his feet and clutching Gun’s leg, the blonde isn’t going down without a fight. You quickly latch onto Gun’s head, making sure to smack it in an attempt to stop him as well.

“PLEASE HEAR US OUT,” you screech, trying to get as close to his ear as possible.

Gun finches and clicks his tongue.

“We swear we weren’t trying to do anything,” Goo joins in, rubbing his cheek on Gun’s trousers and puckering his lips.

Look at this fish face. You scrunch your face in disgust, but nod along anyway. “Since we all have the day off, let’s make the most out of it by having some fun!” you too pucker your lips.

“Fun?” Gun scoffs, and throws the two of you on the ground. “The last time we did something ‘fun’, I had to witness Samuel getting photoshopped. In a bikini. I don’t think so.”

Goo snorts at the memory, but you quickly scramble to latch on to Gun’s leg, crying dramatically. “PLEASE, PLEASE, PLEASE! That was Goo’s idea! Today’ll be a fun day- we’ll go to an amusement park!”

Gun sighs deeply, and runs his fingers through his hair to debate his meaning in the world.

“Unless you’re planning to spend the day perverting with Daniel Park…” you whisper.

“Perverting?- What the fuc- you know what? I’m not going to entertai-”

“PLEASEEEEE,” you and Goo wail in unison, slowly pulling his pants down.

“Ok. Okay. Let go,” Gun snaps, kicking Goo’s face. “Stay outside while I change. Don’t do anything stupid,” he glares.

.

By the time the three of you enter the fairground, it’s already late noon. Goo is running around to every food stall he sees, and you’re tagging along behind him like a little dog.

Look at these fatasses, Gun thinks, shoving his hands in his pockets. As the man scouts around, you skip to him and shove a potato wedge in his mouth. Goo cackles, and Gun glowers at you.

“Alright,” you rub your hands together in anticipation. “Which ride first?”

Goo strokes his chin, but the blonde just shrugs. So instead, you look over to Gun for help.

“I’ve never been to these before,” he says flatly.

You and Goo exchange glances, and the two of you give Jonggun a pitiful look. The blonde sniffles and pats his friend’s back. Gun swats his hand away and looks over at the tallest structure in the park.

“How about that?” He points to the drop tower.

Goo is already running to line up for the ride, and excitedly, you grab Jonggun’s hand to head over there too. The man looks down at the contact, and watches the happy expressions plastered on your faces. Laughter fills the air, and in what seems like decades, Gun feels…

I don’t know.

He doesn’t know what he’s feeling, but it tickles him on the inside, and makes him uncomfortable. He glances around and lets out a quiet sigh as he trudges behind you. Maybe, just for today, he can let himself relax. Just by a smidge. If nothing else, it’ll be an excellent opportunity to prove how unaffected he is by these so-called thrill rides.

Gun won’t admit it, but for the first time, he feels something close to contentment.

[stackslip]

so after a second watch, the thing with arcane s2 so far is that near all the plot beats are really good and exactly what i wanted, but they also almost all desperately needed more buildup. it's like we're missing 10-15 extra minutes an episode for the scenes that would really flesh out a lot of the characters' motives for the choices they make and to build up the world! it's so painfully obvious that they're craming in plot bc they're missing a season or have cut time per ep, and as a result while im ecstatic at a lot of the developments v few of them feel earned!

vi choosing to become an enforcer, her agonizing feelings re jinx in particular feel like they're missing. we should have seen the moment cait chose to use the vents to target the undercity and others' reaction to this, especially vi. it's great to see the hole silco left, but we needed to see the underground falling apart in something that's not a shiny league amv. we needed to see the kid spend more time with jinx for her choice to defend jinx to hit harder. we needed to see more of jinx's suicidality and her voices disappearing. i would have been so grateful to see mel trying to do more to rally to counter her mother's influence and being foiled at every turn. more hints of ambessa's manipulation too! would have loved to see ekko and his peers rescuing undercity people and dealing with the aftermath of the war there directly!

and like tbc i think they v clearly considered what they did have the time with and chose to trim or cut off near anything that wasnt a super cool fight scene or important plot beats. the ACTUAL beats are near all a win to me tbh! i am ecstatic about cait's character arc, her using the vents made me gasp; the mel and ambessa situation is sooooo fascinating and fucked up; i love the revelation about hextech poisoning the ground; sevika and jinx dealing with the gaping wound of silco's death is so good; viktor's ominous messiah arc is hitting for me; i loooooved cait hitting vi and vi just breaking down.

in terms of missteps, i wish ekko didnt feel like he's just being explained plot at (i like his dynamic with jayce so far tho), i think vi of all the characters suffered by far the most of the sacrificed time to make her choices and words mame proper sense, caitvi kiss felt far more like they had to kiss before they broke up but in context did not work, and made me roll my eyes so hard, we did not need a five minute cait angst montage, i did not care for how "league" the zaunite chembarons felt instead of an organic part of zaun like they did in s1, half the songs are a complete miss to me, etc etc

i dont think the season is a loss and again im interested in the actual beats, and tbh i kinda feel sorry for fortiche and the writing team bc it's obvious that this is less like, active clumsiness on their part or shite writing and far more that time was a deeply limited resource for the story they wanted to tell and they had to make choices. you could argue if it would have been better to drop some plot threads entirely and focus more deeply on others but imo it wouldnt work for a series like arcane where the cast' actions have such massive ramifications on each other so. i get it. it's just really unfortunate considering how tightly written s1's tragedy was

[grishaverse-oddity]

Okay so, Caitlyn

She is absolutely fascinating to compare between the seasons specifically from a fighting style point of view and I have not seen anyone talking about it.

Season 1, she shoots from a distance. We don’t see her in close quarters fighting in the hand-to-hand way because she is detached from the central conflict. She has no emotional ties to whatever is happening with Vi (who we see fighting hand to hand) and Jinx (same thing, hand to hand at least half the time) so she is removed from it all and physically inserts herself into it at her will, the same way she shoots a gun into a fistfight.

In Season 2, she is in the middle of the fight throwing hands and hitting Sevika with her rifle physically. She is no longer removed. She is a part of the central conflict, her mother’s death and Caitlyn’a descent into grief and dictatorship is a central conflict. Her fighting style shows it with her becoming a central figure in the fight and not just a spectator deciding when to join from a distance.

Not to mention she starts to fight the way a Zaunite would by biting Sevika in a move identical to how we saw Isha, a born Zaunite, fighting a few episodes prior. Which is an interesting move considering her feels towards Zaunites now. Where she was once detached and could view them as people because she saw them as whole beings, she now views them like animals and that isn’t refuted in her mind because she is up close and can see their teeth and the whites of their eyes. She doesn’t let herself step back more than absolutely necessary to see the full picture.

The irony of her using a Zaunite move at a moment when she most hates them as a people instead of her previous Piltover moves is not lost.

[lacrimosathedark]

The Radioapple Haters™️ are at it again.

This time they're attacking shippers with the newly released Playbill.

There's so many issues with that. Beyond harassing people for ships is dumb.

This is what people are pointing at.

This is on the cast info page. It says Lucifer misses his wife.

So, three things about that.

Firstly, We Been Knew, babe.

His very first appearance, after his daughter says her parents split up, he's in a room covered in pictures of not just said daughter, but her mother too, and he's still wearing a presumed wedding band. If that's not "showing not telling" with a goddamn airhorn, idk how more clear it could get without Lucifer flat out saying he misses Lilith. So like...this is not new info. So there's nothing to really rub in. We knew this.

Secondly, this is in-character Lucifer saying this.

I'm not a professional, but when I was in high school performances, we wrote our own little Playbill bio info things. That seems to carry into professional ones too. If you can read the actual cast, some of the the actors less entrenched in the fandom culture have basically an IMDB of their relevant previous roles, while the ones you see at cons are more personable. Those were written by the actors. So, logically, the character bios are written as if by the characters. This could not be made more obvious.

So, logically, you can read that little above as Lucifer himself actually saying he misses his wife. Which leads me to--

Third, break-ups are messy and painful and Lucifer not moving on, unwilling to remove his ring or call Lilith his ex, doesn't mean they are still together. Hell, they could still even be technically married, doesn't mean they're still romantically entangled.

Look, I know the only seeming one-sided relationships in the show is Vox/Alastor and Adam/Lilith and every other "pair" are together or at least friendly (Chaggie, Huskerdust, Cherrisnake, Staticmoth, Guitarspear) but not every separation has to be a violent resentful split. Lucifer is explicitly Depressed™️ which can be hard for any partner to deal with, especially someone as ambitious as Lilith. It wouldn't be surprising if she, not even cruelly, thought she'd be more successful away from him even if he still loves her.

And all this is on top of the fact that most Radioapple shippers don't expect their ship to happen (some hope it does, some hope it doesn't, I'm personally neutral on the concept), and that a lot of writers and artists explicitly acknowledge and use Lucifer's love for Lilith in Radioapple because people love the drama.

I have several posts listing why one might ship Radioapple so I won't go off about it here, but suffice to say the entanglement between Lilith and Alastor and how the two are similar and different makes interacting with Lucifer interesting from any angle.

This also hurts me personally a bit because a lot of these people are Lucilith shippers and, yall, I'm one of you. I don't want them to get back together for many reasons, but I would love to see endless flashbacks of them obnoxiously in love. Most of my favorite works of fanart aren't even Radioapple, my primary ship, but Lucilith, in large part because of how adorable they are. How indulgent or smitten Lilith can look. How adorably excited or flustered or just happy Lucifer can be.

I love Lucilith. I adore Lucifer. I just also think his interactions with Alastor are funny and intriguing.

We don't need to hate each other. We can try to keep our little sandboxes separate, but we can play nice when we spill into each other, can't we?

I am really just so sick of the silly in-fighting. It costs zero dollars and zero energy to not be a dick. Need to type out a rant to get it out and off your chest? cool. But you can post it privately or delete it instead of going into peoples' ask boxes and and posts to be nasty. Not having the self control and wherewithal to not go out of your way to be a dick to people is honestly pretty pathetic. If you think you're so much better, prove it by being better, or being smug in your space. Making people feel like shit for a nonexistent fictional relationship does literally nothing for anyone and makes YOU look worse.

Dislike the ship all you want. No one cares either way. Just don't waste your limited time in this life making your distaste everyone else's problem.

[adonneniel]

Ok, after finishing Veilguard and sleeping on it, my final impression remains disappointment and frustration. Spoilerific thoughts beneath the cut. Long post. Maybe a bit ranty/incoherent in parts, but I don't feel like going back to edit.

Positives, in no particular order:

The game is beautiful, even on (mostly) medium settings. Despite wishing for a few more wavy options, the hair is perfection and I honestly can't complain.

On a related note, the character creator is amazing. Customizing body & face tattoos! Height and weight sliders!!! I wish the bust and glute sliders went a further, but whatever. I can live. I like that we can import our characters on a new save, and I hope they patch in an option to do that with the Inquisitor as well.

Mechanically it was fun to play

THE BLOOD OF ARLATHAN QUEST. Absolute perfection. Everything I wanted out of this game. I felt hopeless and overwhelmed. My skin crawled. My gut clenched. The horrors of the Venatori were on full display & served as an excellent parallel to the rise of irl facism. And Solas an Elgar'nan exchanging insults inside my head?? I was giddy. I felt the centuries of compounding animosity mixed with grudging respect. I felt utterly out of my depths and it was wonderful. (And LMAO at the one dude fangirling over Rook)

The siege at Weisshaupt was pretty good too. I like failing. It makes the stakes feel real.

I loved the fresh take on Necromancy. Like, yessssss, make it beautiful and romantic and haunting! It's such a interesting departure from necromancy = gross & evil. They even made it mesh with spirit lore and kept the question of an afterlife alive.

Elgar'nan and Ghilan'nain's relationship. I was not expecting them to genuinely care for one another. It did a good job humanizing them & helped balance out the "muahahaha evil" vibe.

I actually didn't mind the magitech-ness. It makes sense that the ancient elves perfected magic to that point, and Tevinter really felt like a knock off version built on the elven empire's bones. It still looked fantasy overall.

I like most of the lore reveals. They were well foreshadowed and, no, I don't get the impression that they just decided to randomly make all the popular theories true. Even if that's the case for a few, they still make sense. (Though I can understand why people might be let down by all "the elves did it!!")

Fighting alongside Solas at the end was fun. Directing my companions during the final fight was fun. I liked that some of them could die (and did--poor Harding)

Solas in general honestly. I didn't find him out of character, just more openly desperate than he was in Inquisition. I also don't hate his dynamic with Mythal like some people, though I understand why it's divisive.

All that said, the negatives still outweigh the positives.

The writing felt timid. Like they were scared to offend anyone so they just decided to ignore the messy parts of their lore and/or hide it behind codex entries that most players probably don't even read.

All those lore drops and we barely had time to sit with them or deal with cultural consequences. Especially when religion is such a huge part of culture? You can't just disprove it and expect people to move on in a few conversations. The Dalish especially should be a wreck.

Tevinter was a disappointment after all the build up we've gotten over last three games. And no, I don't accept southern propaganda and events happening off screen as an excuse. It just reeks of lazy writing. Dorian and Mae's political party failed. Fenris and Dorian are primary sources. Tevinter is fucked up and we should've seen it explicitly on screen, not just limited to a few nasty individuals and codex entries. Instead of a racist, mage run slave state, we got a generic corrupt city with the unique bits alluded to. If you want to argue that it's just because we were in dock town, so obviously we wouldn't be seeing the decadent mage aristocracy...that's just an excuse. The writers didn't have to make that choice.

Wtf did they do to the Crows??? The assassins built on brutality and child slavery are now just being presented as freedom fighters??? Don't try to tell me Zevran reformed things behind the scenes. That's just another excuse for lazy writing (not to mention that he's dead in some player's worldstates). They didn't even deal with Lucanis' abusive upbringing! And it was right there!

The Lords of Fortune are a joke. Pirates Against Cultural Appropriation. Seriously? Combined with that codex entry trying to convince us that their fighting pit is purely volunteer based and death free?? Nah. I don't buy it. They were ultimately useless to the plot and even to the worldbuilding. I learned absolutely nothing about Rivain that hasn't already been told to us in past games (and they didn't even take the chance to show us those things! We just got an empty beach and a few background npcs.)

Tbh this all just feels like another symptom of the game's timid writing. We're good people who only ally with other good people. There's no "enemy of my enemy is my friend". There's no faction with ulterior motives. There's not even a political quagmire we have to navigate to get the Good Ones on our side. The closest we get is the First Warden. And tbh the Wardens are the only faction I felt was truly well written and well integrated into the overall plot. The Mourn Watch was interesting, but they mostly did their own thing over in the corner.

God, don't even get me started on the elves. No existential dilemmas when their gods are running rampant. Even the major god revelations happened off screen! The Veil Jumpers already knew! Lazy lazy lazy.

AND. AND they somehow projected their white guilt onto the most persecuted minority in Thedas! I wanted to crawl out of my skin every time someone apologized for what their people (the gods) did to the world. And to make it worse, they barely, barely, showed anti-elf racism on screen. A few throwaway lines are laughable in the face of that. As a jew--one of the groups DA elves are inspired by--I'm insulted and disgusted.

And someone pointed out that a Crow codex used the phrase "Never Again" in relation to the Dales? Get that phrase out of your mouth, Bioware.

In a similar vein, their treatment of the Antaam reeked of racism and orientalism, even moreso than usual. Big brutes yelling in a scary language with artificially low voices?? Barely dressed? We don't even get to talk with one until the end of the game? Other people have explained it better than me, so I'll leave it at this.

"Why do you want racism in your game? Are you secretly a racist edgelord in real life? Do you get off on people calling you a knife-ear? Do you just want an excuse to be a piece of shit?"

NO. I want good writing. I want realism. If you're going to include racism in your worldbuilding (which Dragon Age does), you have to own it. You have to deal with it. You can't just sweep it under the carpet because you want to avoid more controversy. The absence in Veilguard makes it look worse. You can't pat yourself on the back for angering the anti-woke brigade while perpetuating your own racist tropes. Do the writers even know they're being racist, or do they think it's all ok because the player isn't allowed to be fantasy racist?

Taash's story is a good example. Why the fuck are we put in charge of deciding their culture for them? Why is it tied to their gender? As a cis person I won't comment on the gender bits (I've heard conflicting opinions), but the culture aspect is handled terribly. Seriously. What the actual fuck, Bioware?

The companion situation has been beat to death, but I mostly agree with the criticism that everything is too HR-friendly. And I honestly can't believe those Taash/Emmrich and Harding/Emmerich intervention scenes actually made it through editing. I felt like a fucking preschool teacher lecturing children on how to play nicely. bad bad bad

I don't, however, think the companions are awful. They just kinda bored me. Or maybe not bored, but...didn't grab me? I like some of them, but I don't love them. There's no one I latched onto that makes me go feral. But I can accept that it's a matter of preference. I'm glad some people are happy, and I don't mean that sarcastically.

Maybe I'd feel differently if the game wasn't marketed as "found family"?

More personal preference: I don't like Rook, and I don't like their relationship with the companions. It feels too sterile & corporate, and Rook feels simultaneously too blank and too defined. And the defined bits of their personality are not for me. Dialogue options weren't diverse enough in feel.

LOL at not allowing the player to asshole options, but then the best we can give Harding is "Haha, no idea what you're talking about but good for you. Bye."

Also the game couldn't seem to decide whether my Rook was Dalish or not? According to the mirror I'm not, but then Rook outright says she's Dalish later in the game... Which is it, Bioware? Which is it?

THEY DELETED SOUTHERN THEDAS OFFSCREEN.

The illuminati secret ending is an awful decision. Way to take agency away from some of the more interesting antagonists. And this was obviously a retcon? There was no buildup to this. At most they were toying with the concept in DA:I, which is when the Executors were introduced.

It's hard to think of this game as a love letter to the fans when these last two points feel like a huge middle finger to everything that came before.

Yeah. Just...yeah.

Disappointment and frustration. All the building blocks for a great game are there, but they just...didn't come to fruition.

I might do another playthrough, but I also I might just take what I like from the lore and go back to previous games + my silly crossover fanfic. And BG3. That obsession was only just taking root when DATV came out, and I didn't get a chance to sit with it.

I'm sad.

[simpforsolas]

thoughts on how veilguard could've improved rook's and solas's character arcs

So I've been thinking about Veilguard nonstop since I finished it last night. I want to preface this with the fact that I liked many things about it a lot. While I do have my criticisms, it was probably the most fun I had actually playing a Dragon Age game. They made a lot of improvements in a lot of ways. But while I enjoyed (for the most part) what was there in the game, the entire time I just had the feeling that it was missing something (or maybe more accurately, a lot of things). This post won't go into all of those things, but I want to really delve into the biggest missed opportunity in the game: Rook's character arc and how it could have impacted Solas.

I found that Rook’s character arc was somewhat overtaken by the companions. But there was great potential for a phenomenal arc for them: what kind of hero will you be? From the beginning, Rook was set up to be a mirror to Solas. They remind Solas of who he was when he first started his rebellion: passionate, idealistic, wanting to make the world a better place. Basically, the quintessential hero. But Solas didn't stay that way. In pursuit of his noble goals, he made so many sacrifices and caused so much destruction that he accidentally became the villain. So if Rook is Solas's mirror, the logical conclusion is that Rook should've had the opportunity to reflect BOTH sides of Solas with two different paths: the "pure" hero path, or the "dark" villain path. Allowing two different paths for a protagonist in a game like this is tough, so I understand why it doesn't usually happen, but in this case, I think it would work because "pure" or "dark" path, Rook's ultimate goal would remain the same: stop the gods. The only thing that would change would be the way they go about pursuing that goal.

How would this work in practice?

For the pure path, Rook would err on the side of protecting people. Examples of this could include: giving characters like the mayor and Illario a second chance instead of killing them, making the choice in an either/or scenario to save lives instead of going after the gods, refusing to make deals with demons for more power to help them in their fight. Pure Rook is basically what we got in the game so I don't need to go further on this, but Solas watching a pure Rook would be moved by what he sees. In Rook, he would see a reflection of what he could've been if he hadn't been corrupted and trapped by his own overwhelming guilt.

For the dark path, Rook would be willing to get their hands dirty and make questionable choices if it helped their ultimate cause of defeating the gods. Examples of this could include the opposite of above: killing Illario and the mayor, choosing to sacrifice people (such as the Dalish hostages) in order to not lose an opportunity to go after the gods, and making deals with the demons in Hossberg in exchange for power to help the fight. The motivation behind each of these decisions wouldn't be selfishness, it would be pragmatism. Making the choice that would give us the best chance against the gods, no matter the cost. Solas watching this Rook would feel validated in the choices he made. Rook reflects Solas's own downward spiral of a journey, in seeing yourself become the villain as you try to be the hero. He would see that when tasked with the near impossible task of stopping tyranny, Rook was willing to get their hands dirty, just like he was.

Giving Rook the agency to choose what kind of hero they want to be would tie in with themes the game already started, but didn't exactly deliver on. Solas asks the question "what will they call you, when this over?" and by the end of the game it's like, "well they'll probably call me that one nice dude who saved the world through friendship." But if they had the chance to become sort of Dread Wolfy themself, then that line would carry a lot more weight.

Now that we've established what a two-path Rook could've looked like, I want to explore a little more how that could've impacted Solas. I, personally, wasn't the biggest fan of Solas changing his mind only being made possible by Mythal releasing him from her service. For a few reasons, but what I'm going to focus on here is that it made his redemption into this one-event thing, instead of an overarching journey that could've taken place over the course of the game. What I think should've happened is that depending on Rook's path, Solas is either a) shown a new path that he could've taken or b) validated in the path that he took. Additionally, through conversations with Solas, you could challenge his worldview, or you could reinforce it. If you did a pure path Rook, Solas would basically be prepped to ultimately be receptive to the inquisitor/Mythal's attempts to appeal to him and get him to change his mind, while dark path Rook would reinforce Solas’s worldview so strongly that no one would be able to get through to him, and his mind couldn’t be changed. This way, his outcome would feel more like a culmination of choices instead of a one moment thing, you'd have more of a chance to see the gradual shift of his attitude, and Rook would have a more interesting character arc.

[katerinaaqu]

Thank you really much I am glad you liked it.

Well you know what I am going to say that I ain't a fan long time how but yeah one could say that I guess but as you see I am not a fan of "Little Wolf" either not because it is a bad song but because it twists the meaning of Telemachus as I said above to my analysis. If anything I think "Little Wolf" would be an amazing song to add during the murder of the suitors. Athena could have encouraging lyrics or stuff to both Odysseus and Telemachus to also show her character development. For example for Telemachus who fights a real murderous fight for the first time needs encouraging so Athena appears behind him and be like "Fight Little wolf fight Little wolf show them that you got some" and go to Odysseus and be like "Fight my dear friend fight my dear friend show them what's your real strength" or something. I would love that context much more than whatever we got there (not to mention as my dear friend mentioned to the comments Odysseus was perfectly okay to defeat the freaking king of earth alone but Telemachus had his ass handed to him with Athena's help)

So yeah many things could have been done much better in my opinion and again little does it matter to me anymore because I respected what Jorge said during the first two sagas that were actually following the sources but of course they were having liberties so Jorge made sure that people knew. Right now it feels like "Fuck yeah did my duty and told them I am not following the Odyssey so screw the Odyssey from now on I'll do my own shit instead of creating an original character and story let's just screw the most iconic parts! I already told them I am not accurate so from now on it's free game" and this pains me beyond words!

But I agree to what you said he absolutely was alone in a sea of people he hated alone in his home when his own mother; the one steadfast figure he had in his life finally broke 💔 his grandfather probably he respected now gone mad in sorrow and of course his grandmother who had such a shaming death on top of his own doubts about his inheritance. His loneliness and depression were key parts to the story.

I am glad I gave some food for thought and yes I agree. Telemachus absolutely NEEDED that journey. He needed to discover himself his roots and his father. He needed to know on his own which is why he had no doubts when he embraced his father in the Odyssey; he heard from others that he was a good man, someone admired. Telemachus got to know him a little bit and so that embrace was redemptory. It was of outpost importance!

What's your opinion on how Telemachus was handled in Epic (so far) ? I'm curious 😀.

And what is different from his Odyssey portrayal ? Not counting the fanart that infantilizes him, I'm strictly talking about the musical itself.

Hahahaha you guys definitely wanna put me against a wall one of these days! XD But I absolutely LOVE this question! Hahaha okay here goes;

Absolutely I wasn't gonna talk about the fanart and all that is part of the designing process and arguably that is part of every person to do. They could easily choose the depiction more Odyssey-accurate and still use the musical sound so yes you do well to mention it because yes I myself wouldn't touch the design part in this ask

Anyways long story short; I don't like it.

Storywise it is overly-simplified and shows only one portion of his possible emotions; the one that tries to connect with his father. That part is genuine and I see where the portrayal such as the song "Legendary" came from. Arguably Homer himself also touches the subject of glory through one's deeds and I see where the musical came from when Telemachus says what he says but the song was too bbbly, too naive portrayal of Telemachus and in a way completely disregarded the true depth of sadness and depression in Telemachus.

In the Odyssey Telemachus never connected to his father because his father was never there. To the point where he was even doubting whether he was his son or not. He basically says that "everyone calls me that but how can I know? The dude was never there. Possibly never will be here again". His whole energy was the total opposite than Epic.

Epic portrays Telemachus in a manner that reminds me of Disney's Little Mermaid in "Part of your world"; a bubbly teenager who dreams to start his life or to be making a legendary name for himself like his father and in childish naive energy says "bring me all these monsters to fight them!" while in his childish naive nature was also making him afraid or worried to face the bullying of the suitors (the way the suitors were portrayed as if Jorge wanted to make them EVEN MORE evil also had me cringe like Antinous calling Penelope "tramp". Antinous called Penelope more or less "divious" because of her scheme against them but that was all. In here they are competing for her hand while calling her names without reason? Yeah right....). He seemed like the average teenager that needs the adult to get him to realize video games is not the life and that he needs to do something about his future! Does he also seem low-key sad? Yes. But just like Ariel in the Disney movie was pictured as a dreamer that wanted escape from his confided situation through bubbly and childish dreams.

Odyssey Telemachus was both emotionally and psychologically exhausted; his mother was taken down by grief and endless waiting and had confided herself in her chambers, trying her best to avoid the suitors that were at her home for FOUR YEARS, constantly crying at this point. Telemachus also saw his grandfather lose his mind in sorrow and his grandmother melting away by desperation and sadness and dying or potentially killing herself by it. The last thing he wanted was "to be legendary". In fact Telemachus gave me the exact opposite energy than a dreamer. He was very down to earth and his main goal was to get out of this nasty situation, trying to grow as a person to set himself free from this torment. He had so much in his plate that the last thing he wanted was to dream. In fact he gave me the impression of a person with no more the luxury of dreaming. He almost seemed crushed to the point of breaking himself almost like every other member of his family. (He gives me the impression of a person that after spent years of trying and fulflling their dreams now they are forced to work in a work they hate for survival and think that "dreams are for fools. No luxury for them!")

Like I said Menelaus described Telemachus as a spitting image of his father including his eyes, which is something I find the most important. Menelaus compared Telemachus's gaze to Odysseus; a man that fought a war with him! A man exhausted by the evil he saw and caused. Telemachus's profound grief was so intense that his look was equivalent to a man Menelaus fought a war with! He was the opposite of what we see in Epic! In fact we know that Telemachus was also very much silent and tried to keep a low profile so he didn't need to face the humiliation of the men that were literally plundering his wealth and harassing his mother and himself. The last thing he had in his mind would be to "be legendary". He was also plundered by the fact that not only was he doubting that Odysseus was his father per se but also he was in doubt that this Odysseus that everyone named his father would be alive or dead. He didn't know that. He was actually almost certain that Odysseus was dead but that part in the back of his head was not yet leaving him in peace which is why he needed Athena's guidance

Which brings me to the next part; Athena In Epic Athena appears to...give Telemachus the boost to fist-fight the suitors for some reason and mind you he still gets his ass handed at him! It made it seem as Telemachus's only problem was that he didn't have the guts or skills to fight the suitors and Athena gave him a solution! (potentially a message to stand up against bullies for teenagers? Perhaps but still I felt it massively undermined Telemachis's situation in the book) As I have answered to another person around here, Telemachus's problem was that the suitors claimed the law of hospitality and named themselves ODYSSEUS'S guests. Telemachus could not yet take over as king and he had no power to send them away. Plus he was plundered by doubt about his own inheritence. What Athena did was not to make Telemachus a fighter for he already was (we see how well he stands against them at the side of his father in the Odyssey) she came to encourage him to find out on his own.

Arguably the trip of Telemachus was a mirror counterpart of Odysseus's but instead of a trip that makes you lost like Odysseus was lost, it was a trip for self-discovery. Mind you, both the trip of Odysseus and the trip of Telemachus are cognitive trips; both characters learn in them and come in contact with places. Psychologically the trip allows Telemachus to escape this boarderline toxic grief in his home and explore the world. Also find out on his own information about his father. Now, arguably he never really finds out about his father's whereabouts for certain apart from Menelaus's vision but there is something he definitely gets out of his trip that is not talked about enough;

He finds out he REALLY is the son of his father and he gets information about what kind of man he was!

He hears from friends that fought with him how similar he looks to him; not just from his closed and secluded environment but of people outside his circle and his known people that he looks like him and they also give him information about him. No more the random comments the suitors he hated say or his sad mother who could either idealize his father to escape her grief or the loyal slave Euryclea who adored the family naturally like a mother; now it was also friends and known people of Odysseus that speak about him Telemachus is double-checking his information! Thus coming home much more confident on his inheritence and his own destiny and duty

Arguably the Odyssey is as much Telemachus's story as it is Odysseus's. Telemachus was in one way a spectrum of Odysseus; fighting a different type of war; losing himself in a different type of sadness. His story was a story of coming of age not a story of a goddess that teaches him how to stand up against bullies. Telemachus already does that in the Odyssey by calling the council. Arguably he was alays standing against the suitors but his position did not allow him to do something drastic! I think just like many things Epic missed this by a mile; reducing Telemachus's profound grief, sadness and uncertainty to an average teenage escapism story rather than the fact that Telemachus had no luxury or energy for escapism, Athena's advice for self-discovery to the average "raise your fists and fight your bullies" story ignoring the deep cultural details that led Telemachus to that tight spot in the first place and of course it completely abandoned the importance of Telemachus's trip which could be a subject of a movie on its own! (Quite frankly Telemacheia covers more chapters in the Odyssey than Odysseus's own flashback! It covers 5 rhapsodies of the Odyssey while Odysseus's story covers 3-4)

I hope this answers some questions! I will be happy to elaborate more.

[wisteria-lodge]

"He starts acting more like his mother, and this works well for him. I honestly think Draco takes after Narcissa much more than he takes after Lucius, it just takes him a second to figure that out"

Wait really? What does it mean? Like if Draco doesn't do things in a showy way it will all work put for him/it makes him have a higher chance of succeeding? Or does it mean that he does best if he works behind the shadows type?

"But in Book 6 there's a rupture between Draco and Lucius" Is it because of this that when Lucius called out to Draco during the battle who didn't come until only Narcissa called for him?

"Vincent Crabbe and Gregory Goyle are *quite* committed to keeping Draco Malfoy in one piece" hmm I kinda don't agree with this because they usually let Draco get beat up right? Or maybe I'm remembering incorrectly?

I'm catching up on your metas I really love them so much

~ re. this meta about how Lucius and Narcissa use power ~

Yeah, Draco is not the most... effective character, for most of the series. Generally his plans backfire, or just don't work at all. Taking Neville's Remembrall gets Harry on the quidditch team, luring Harry out for a duel and snitching about Norbert gets *Draco* in trouble... he's not able to get Buckbeak executed or Hagrid fired, the Inquisitorial Squad doesn't really make a difference, even other Slytherins get sick of how often he does impressions of Harry fainting or whatever. The Support Cedric Diggory/Potter Stinks badges... I'll give him that one. But that's also him being unusually subtle/sneaky (trying to stay under the radar because he's scared of Moody.)

I would say that when Draco plays it subtle, sneaky, and patient - things do work out a lot better for him. He starts getting effective in Book 6, and I don't even hate the poisoned mead/cursed necklace plan. I mean *morally* obviously it's not great, but as a tactic it's kinda brilliant. It reminds me of The Great Escape:

"Perhaps we're being too clever. If we stop all the breakouts, it may only convince the goons that we must be tunneling."

If Draco throws out all these showy attempts (that Dumbledore calls "desperate" and "feeble")... well, then Dumbledore is much less likely to suspect that Draco has additionally spent the all year essentially building a tunnel. He's using both his parent's strategies simultaneously: cursed artifacts, poison, imperiusing someone into helping - that's all Lucius. It's in-your-face, and soaks up a lot of attention. BUT - slowly and carefully fixing the Vanishing Cabinet so people can sneak in... that's all Narcissa. And so is the way he's made sure no one is paying attention.

We also see this with his passive resistance in Book 7, not identifying Harry & co. when he has the chance to. That's also a very *Narcissa* move. We even get little moments in Book 7 where he's actively being coached in his mom's don't-attract-attention strategy:

The hilarity mounted; Draco Malfoy looked in terror at his father, who was staring down into his own lap, then caught his mother’s eye. She shook her head almost imperceptibly, then resumed her own deadpan stare at the opposite wall.

~ * ~ * ~ * ~

The moment where Draco doesn't go to his father when Lucius calls for him is a movie-only moment, but it fits. Draco spends Book 6 pulling away from his communities - the Slytherins, the quidditch team, the Death Eaters. He's realized that he doesn't want what they're selling. And pulling away from the Death Eaters *does* include Lucius and Severus (who he doesn't know is a spy.) Instead, Draco seems to spend a lot more time alone, with his mother (I just can't believe Bellatrix was the one giving him occlumency lessons, that is such a Narcissa move) and with Moaning Myrtle.

~ re. this meta about the Malfoys during the first war ~

I mean... Crabbe and Goyle aren't very *good* at keeping Draco in one piece, but they do try, and whenever someone is beating up Draco, Crabbe and Goyle are right next to him fighting someone else. They also get a shout out for being some of the only people Draco actually trusts during Book 6, and they stand guard for him, even when polyjuiced into 11 year old girls.

[baubasement]

Cm writers: we we’re going to make Emily a lesbian and Spencer bisexual

You still can???? What’s stopping you? Fear?

[orcelito]

Gotta love that we have nearly all the named konoha kunoichi (minus Tsunade, Kurenai, and a few other even more minor kunoichi)

AND YET. the guys still outnumber them.

Still. 5/12 is still way more than we usually get (since it's normally teams of like 1/4 to 1/8 or so)

Wow the female characters ratio in naruto is absolutely atrocious.

[sage-nebula]

No, I disagree. While Silco absolutely enabled Jinx's worst impulses and instincts, he was never the reason for her hallucinations. I mean, to begin with, Jinx's psychosis is genetic; she was hallucinating long before she ever met Silco and before she experienced the traumatic incident at the cannery, as evidenced by how she hallucinates when peeking through her fingers in the very first scene of the very first episode.

But after arc 1, and through the rest of the show? Vi and her past were / are the reasons for Jinx's hallucinations. They are the trigger every single time.

Let's take a look at when Jinx's hallucinations acted up the most in acts 2 and 3 of season one, shall we?

The first big moment is in Jinx's very first appearance in act 2; while fighting the Firelights during the shimmer transport, Jinx comes face to face with a girl who has pink hair. This girl reminds Jinx of Vi, to the point where she has difficulty telling them apart, and her hallucinations take over.

Later in the episode, after Silco benches her for ruining the shimmer shipment, Jinx has a conversation with her hallucinations while in her workshop. While the latter half of the conversation is her angry with Silco benching her while letting Sevika clean up the mess, the conversation (and hallucinations) start with her again focused on Vi — or rather, the girl she thought was Vi. She's arguing with the Mylo and Claggor hallucinations, insisting that the girl wasn't Vi, that she knows that, and that she just got confused.

Her insistence, too, that she isn't weak, is peppered with Mylo hallucinations. Because Mylo was the biggest voice in her childhood saying that she was a problem, and needed to be benched.

She's good for the rest of the episode, though. After she murders "half a dozen enforcers" to steal the hex crystal for Silco, she doesn't have a single hallucination, and instead rocks out in her workshop while happily working on Fishbones. So in the first episode of arc 2, we see that thoughts of Vi and her past trigger hallucinations, while her work for Silco does not.

Or at least, it doesn't until it reminds her of her past. In episode five, while studying the hex crystal, it causes a minor explosion reminiscent of what happened at the cannery. This once again triggers Jinx.

(Beautiful moment I captured here, I know.)

To be honest, I wouldn't even call these hallucinations; it's more like a series of rapid fire flashbacks to Mylo's and Claggor's deaths, which is pretty impressive when you remember that Jinx didn't actually see them die. Nonetheless, the explosion here triggers those traumatic memories, and she runs away in tears. If we wanted to tie this to her psychosis, we would say that, again, her trigger was tied to her past family, not anything Silco has done.

The next hallucinations (or actual hallucinations) she has in the episode are when she visits the old arcade. Specifically, when she fixes the boxing machine and turns it on, she remembers Vi's voice. And that's when we see it.

The sketch marks are Vi's name repeatedly, over and over, as she hears Vi's voice in her head. She screams and literally cries as she attacks the machine, hallucinating her sister all the while.

She doesn't hallucinate again for the rest of the episode, but she does talk about them to Silco. She says, "I keep seeing them. That day," when talking about why she can't crack hextech. Silco then takes her to the river for the baptism scene, and after, she's able to work on the hextech again, hallucination-free.

Episode six brings us a lot of hallucinations, though. The first happens when Sevika tells Jinx that Vi is in back in town.

My screenshot didn't catch all the sketchy bits, but they're there. Complete with the whispered voices.

Next is during my favorite scene to date in the entire series, when Jinx lights the flare and "Guns for Hire" plays. She first remembers / hallucinates Vi's voice, and then — after the flare is lit — hallucinates Mylo and Claggor at her back in their last moments.

You have no idea how hard it is to capture exact seconds with Fireshot, which is what I use to take screenshots due to Netflix's blocking, but trust, the sketchy marks are indeed there.

She hallucinates again when she thinks that Vi was tricking her, and was really just working with Caitlyn all along:

When Vi touches her arm:

And at the end, when Vi is taken by the Firelights:

In her first scene in episode 7, she's giving herself bad first aid (e.g. stapling her pants to her leg). She hallucinates Mylo taunting her through the entire scene, and what is he taunting her about?

Vi caring about Caitlyn more than her. Once again, all of Jinx's hallucinations are about Vi, triggered by Vi, and the exact opposite of what Silco instructed her to do. (Let it go by "letting Powder die" — i.e., kill the part of herself that saw that she needed Vi more.)

I can't capture the exact flashes of sketch across the screen no matter how hard I try, but the next time Jinx hallucinates she IS with Silco — talking about Vi. It's when Silco reminds her that Vi left her after the cannery (which was never actually an abandonment, but that's how Jinx perceived it), and that he gave her a home, that the hallucinations are triggered. Again — her sister, her past. I would show screencaps if I could, but it's really hard to capture when they're that fast, so I'm giving up for now before I'm here all night.

The next time is on the bridge of progress, when she's watching Vi and Caitlyn say goodbye.

And then again when she sees Vi run back for Caitlyn after Ekko was shot. (Side note, but — Ekko was the one shot. Why didn't Vi call out for him??)

And then again when she comes face to face with Vi helping Caitlyn after the explosions:

(For once I got the timing just perfect.)

After that, she fights Ekko and then blows herself up, and in episode 8 Silco takes her to Singed. Now, she does hallucinate a lot while undergoing the shimmer transfusions. And Silco did bring her there to undergo those transfusions. But if we're going to hate him for trying to save her life by any means necessary, then we also have to hate Jayce for doing the same with Viktor in season two. Additionally, although Jinx hallucinates Vi a lot during that process (as well as Caitlyn taunting her), I really do think it was just the pain of the procedure that was causing her hallucinations there, so I'm not going to include them. They weren't really triggered by Vi, as much as they were just triggered by pain.

Episode 9 is, of course, the cursed dinner party. And her hallucinations are going wild during that dinner party. The two biggest are when she shoots the Mylo doll ("shut UP! we're talking!") after Vi promises Jinx that she's on her side and isn't lying about it, and then, of course:

Now, to be completely fear: the sketchy lines started when Silco told Jinx to "finish it", referring to killing Caitlyn. But things only kicked into overdrive when Vi started shouting at her, calling in every single name that could possibly trigger her: Vander, Mylo, Claggor, their parents, and finally Vi herself. Jinx says "stop" and "no" but Vi doesn't hear her. And these hallucinations push Jinx to the ground.

Then it's all over. Jinx reacts to the sound of a gun, and kills Silco. Silco, according to the script, gives Jinx "the affirmation of love she's always wanted" just before he dies. Then she chooses the Jinx chair, because Silco did what Vi was (understandably) unable to do after the cannery: he gave her unconditional love after she had a fatal accident.

After choosing the Jinx chair, she says, "I thought maybe you could love me like you used to. Even though I'm . . . different. But you changed, too. So, here's to the new us." This is Jinx giving up on Vi, and any hope she had that things could go back to how they were before the cannery. This is why she isn't hallucinating her brothers anymore. This is why she's not tormented by thoughts of Vi. Because she gave up. She let it go. She killed the part of herself that saw that she needed Vi more.

That said, it's not as if Vi has completely lost the ability to make her hallucinate! Because as we see in season two:

She starts hallucinating again at the mere sight of Vi in that enforcer uniform. (And the glowing eyes and sharp teeth . . . just like the sketchy faces over the enforcers on the bridge of progress in the very first episode of the show. While she gave up on Vi, she still has enforcer trauma, it seems, made worse by her own sister becoming one of them.)

Jinx doesn't hallucinate Silco despite being the one who killed him because he forgave her for it, instantly. He told her he would have never given her to Piltover, and that she shouldn't cry, because she was perfect. So she isn't holding guilt over his death — just despair. But she held guilt over what happened at the cannery, and until Silco's death, couldn't let go of it. And that, plus all of her trauma surrounding Vi (abandonment trauma despite that Vi never meant to, inferiority complex, what she perceived as conditional love), meant that the surest trigger for her hallucinations was and is Vi.

It's always been Vi.

So are we all in agreement that Jinx is hallucinating less in season 2 two because Silco was making her worse?

[instinctsxbad]

*scratching at the walls thinking about how no one has adapted Peter’s college arcs in a consistent and satisfying way.*

[storm-of-feathers]

okay hi im drunk so bear with me

but you motherfuckers have to understand that a social class is out of your control. there is not a single thing you can goddamn do to change your social class

so trans men being denied access to medical needs ie medical needs around a uterus (something that is very serious and exhausting to have.) isnt saying "oh men are oppressed" its saying "even when trans men are read as women they are still denied bc theyre not women enough. they are also denied mens healthcare post transition bc theyre not considered men enough. the same thing applies to trans women in the reverse. its not about who has it worse, but how we can band together to fight this."