#it all just adds SUCH a layer of tragedy to his character!!!!!!!!!!!

[trans-luis-serra-navarro]

OP I sincerely hope you don’t mind me writing an essay in the tags cuz I have Luis Serra autism this is like. My jam ABDBWHBEHDNDHX

So here's the thing. I do think Luis worked on Project Nemesis in the remake timeline. I tried double checking the in game evidence around this statement, and it's still a little vague but why not. At the time he is in his early 20s which, for a lot of people, is a very high pressure time of growth. Navigating adulthood, figuring your personhood out, and feeling like there's an invisible timer to accomplishing something important are pretty common experiences for that age range. Not to mention just trying to survive at all when living and supporting yourself is being balanced with the rest of that nonsense.

Before the project, I do think Luis was working on standard over the counter medicine. I think his genuine goal was to make something that hadn't been done yet. He wanted to make something there was a need for and he failed. He kept failing utterly at it, and his self-esteem took some heavy hits during this process. This meant when he was offered to start working with his team named on his lighter, he goes for it. He's also good at it. Great at it. For some reason, working with parasites comes completely natural to him. He makes a lot of breakthroughs, and the praise he receives in return diminishes the self-deprecation he might've been lumping on himself for past failures. He's pretty sure he's found his calling until he gets to see what they've made together.

And it's horrible. It's the opposite reaction of what Wesker has with the completed Tyrant. He's terrified. He's confused. He's maybe even angry with everything but especially angry with himself, and he knows what happens after this. He knows with a success there'll be more. He knows with a success they won't stop, so he runs away. He puts a lot of effort into vanishing since he knows he's the key to keeping a smooth manufacturing process, and he's right. They can only make the one, and the issues he theoretically could solve for duplicates he is no longer there to solve.

He probably mopes for a while, tries to tell himself there was nothing more he could've done, and he goes home to see the people he knew falling ill. With parasites. That's his thing! That's his thing he can do!!! That's his thing he can fix!!! The leaders, only one of which he did trust, gave him the gracious opportunity to fix it. To save people. To save the people he knew, and he succeeds. He makes something to save those people only to find out it was a lie. All of it.

It's not like the first time where he chose to make something horrible for the sake of needing a win only to run away from the consequences. This time he went in with good intentions to help people and stop a plague only to become a tool in progressing it. No wonder he was so desperate to help when we see him interacting with Ada in the DLC. He's trying so hard to do everything on his own terms to get the results he wants because the failure of upholding his code of ethics led to the production of a weapon of terror and the success of upholding his code of ethics led to the production of a weapon of terror, so when does it end!!!!! When do his intentions actually have the effect he desires? When can his mind, his skills, his abilities actually help people for once? And then Leon and Ashley appear, and his work helps them like he wants it to help people, and he never gets to bask in that accomplishment!!!!

[its-your-mind]

ALWAYS rotating TAZ: Balance around in my brain like microwave but ESPECIALLY with the announcement of The Suffering Game graphic novel

The dope thing they can do (and are doing) with the graphic novel series is sprinkle in moments of foreshadowing and hints to the reader about what REALLY might be going on here, which is so cool and I’m a huge fan of it, especially when you’re telling a story in this form.

But what is REALLY FUCKING TASTY about Balance as a story is that none of the motherfuckers telling it had any clue what they were doing when they started

Gerblins is dick jokes and not knowing how dice work and making fun of each other for voices. LICHRALLY the scene where Taako grabs the Umbrastaff is immediately proceeded by Clint trying different voices for Merle while Justin begs him to stop, as Taako. Merle gets launched across the room cuz he failed his save, and now Taako has an umbrella. The scene moves on.

Griffin brought them up to the BOB, introduced them to the Director, and gave them memories of a war fought over nameless, lost, powerful but mysterious artifacts. The memory that Taako takes from it is the idea of soured cream (ya know, for his taco quest).

And then they’re off, on different adventures, making friends, saving lives, making more dick jokes, and Griffin is in the background, slowly building in the meta-plot, as all DMs do.

But this meta-plot was HUGE. It was ALL-CONSUMING. It completely changes everything we know about this world and these characters. It takes the moments of dick jokes, and arguments about character voices, and flirting with death, and adds a layer of tragedy and complexity that just wasn’t present the first time they told that story.

AND THAT’S WHY THIS STORY KICKS ASS. The vibe of the story changed as Tres Horny Boys grew closer and closer to remembering the lives they had lost, as Griffin upped the stakes, as people started dying. They still don’t know shit for most of The Suffering Game, but you absolutely could not have predicted the tone of that arc after just listening to Gerblins. It sounds like a completely different story. And so when the other shoe drops, when shit breaks bad, when it’s the end of the world… again, and they have to reclaim their Stolen Century…

It makes sense. The tone has shifted enough to accommodate that kind of change. The characters have grown (back) into themselves enough to make this work.

Because TAZ: Balance is a tragedy. But the tragedy happened before the podcast even started, and had been erased. So of course it started off with goofs and dildo jokes. Of course the three of them started being standoff-ish with each other and making light of every situation that should have had a lot more weight. They didn’t know what they had lost, and we, the audience, didn’t either. So it was easy to laugh and joke… until slowly, it wasn’t so much anymore.

Plenty of people have praised Griffin’s storytelling abilities, but I think the thing that was most impressive to me was how he took the disparate threads laid out behind the Boys on their adventures, and followed them backwards, into the story they had lost, and forwards, into the ending they earned. I fucking love that he settled on Istus as the deity to interact with them, because I don’t think there’s a better representation of the story Griffin was weaving behind the scenes of the arcs.

Story and Song wasn’t really an arc driven by dice rolls and role playing - but it wasn’t railroading either. Griffin took every story they had told, every happy ending they had fought for, and twined them around and through each other. The world was saved not because of a lucky nat 20 roll, but because every person they had helped through the story came out in force to fight beside them to save their world.

And so in the end, the Stolen Century was a tragedy. But The Adventure Zone: Balance was a story of hope, of family, of the power that just a few loveable doofuses can have when they move through the world, making friends and saving lives. So when the world was ending and they needed help, there were dozens of people waiting to hear the Story and the Song that would give them the push they needed to fight, and the hope they needed to win.

[year2000electronics]

Bill & Ford & A Book, Oh My!

DISCLAIMER: The Book of Bill has Bill Cipher serving as an unreliable narrator. If we go out trying to say something is "definitively a truth" or "definitively a lie", we're going to keep arguing about it until the heat death of the universe. This is just my own personal interpretation of the source material. If you don't agree, that's fine! Also TBOB spoilers abound.

So it's no secret that interest in the dynamic Bill & Ford have (enemies, platonic, romantic, formerly romantic, whichever way) has really skyrocketed since TBOB's release. Of course, there are the 'easy' culprits to point towards, with Mabel referring to Bill as 'being like a needy ex', and the whole O'Sadley's fiasco (Him literally crying over losing Ford and going "one Sixer, please"? Messy. Messy behavior. Still, I think it goes so much deeper than that.

Bill, being the unpredictable chaos entity that he is, also serves as the main antagonist for a show about family and having close bonds with each other. We don't really need to look into his inner psyche that much, because that's just not what he needed to be doing at that point in the cartoon. He's meant to be a way to divide the Pines, really. And a silly little guy. A silly little obstacle. So, naturally, when it came to Bill's arguably "closest" relationship to someone in the show (Ford), it was very easy to interpret it as Ford being tricked by a completely apathetic Bill, who was just using him as a rung on the ladder. And I do want to stress that Ford and Bill's physical actions remain fairly consistent throughout interpretations, and focusing on the fact that Bill badly hurt Ford is important, so if that's how you still see it, then fine by me! No harm no foul!

But I think the relationship, their story, their tragedy just becomes so much more interesting with the lens The Book of Bill has presented. We’re finally able to see Bill’s perspective as a “protagonist” of sorts in a medium where he’s not just something to defeat- and that’s something we’ve never gotten before, so it’s shedding light on an area we didn’t know about for sure! Again, Bill is lying to the character of "the reader", so we can't trust it as a completely unbiased source. But we can speculate on where the "truth" is between these lies.

First of all, Bill's backstory was that he destroyed his home dimension- we knew that already. But now, with the extra content we have about it, we see something interesting- that Bill's backstory mirrors Ford's to an uncanny degree.

Both of them champion their intelligence, although they highlight how it set them apart from others, as well as highlighting their own 'rare mutation/birth defect'.

Again, with this self-isolation already spurred on from their "weirdness", but also as a little aside, I would also like to highlight that Bill being 'ready to be one', looking up at the stars, striving to 'reach' them, is a shared motif he has with Ford, who is also associated with space, the stars, and reaching them.

Bill's 'trying-really-quick-to-convince-Ford' fantasy sequence even has him in a field of stars as a sort of "ultimate wish fulfilment". Remember, this is Bill showing Ford something he thinks would win Ford over, at least a little.

(And I'll take a quick time out for this train of thought to point out- hey! Bill admits he sought out most of his other victims, but Ford summoned him, and it took him by surprise! That adds a fun little layer of complexity to everything, don't you think? Another little layer of humanity for this whole mess- Bill didn't expertly seek out the 'perfect victim' or anything, it was just... luck. Some twist of fate.)

Anyways.

Obviously, the intro page to the 'Sixer' section has a ton of red flags galore (I mean, poor guy's literally depicted as a hapless puppet. C'mon, Bill. Not to mention the "OH BOY HE'S ALREADY SO ISOLATED, IT'S PERFECT" thing.). This guy is kind of a terrible companion no matter how you slice it. He's terrible to everyone close to him, because he's a deeply traumatized character who refuses to heal. BUT, the wording here is kinda deliciously intriguing to me. All of humanity is Bill's puppets, his future victims, but to me, it's clear that he holds a fondness for Ford. From "This is what a partner looks like", to "Me and Sixer could be the perfect team", to "He had what I always wanted- fingers" (drawn to his strangeness, maybe?), "He was destined for so much more", "I looked at his futures and giggled", and most stand-out to me, "Society calls these people freaks, I call them Henchmaniacs!"

Going back to the pre-Book of Bill era I was talking about, Bill's offers for Ford to join him were always in a sort of murky territory for interpretation. The first offer could definitely be read as mocking, with the line "WITH THAT SIX-FINGERED HAND, YOU'D FIT RIGHT IN WITH MY FREAKS!" in particular making it seem like Bill was only saying that to rub Ford's strangeness in his face, and the second offer to join Bill being under a new circumstance- that now Bill is desperate and believes Ford is the only one who can help him. But the Book of Bill mentions the idea of Ford becoming a Henchmaniac more than once, and also has Bill upset at losing Ford and claiming "he'll be back", as well as Bill seeming to use "freak" more like a badge of honour, and having previously complimented Ford's six fingers (In the Sixer intro page, he highlights Ford's fingers as a quality he likes, and in the pages about bodies, he states that "humans should have more fingers". To me, that first offer reads more now like Bill being genuine about finding Ford a place among his misfits. ...Although, the moment Ford says no, he does zap him into a statue. So. Y'know. He's still got issues.

(Yeah, again, red flag city. "Just hazing"? Bill, none of what you were doing over there was okay! You might have suppressed everything traumatic that happened to you, but that doesn't mean you can go around traumatizing everyone! Good lord.)

Bill has already been imply to like other characters because they remind him of himself. Pointing towards a connection with a character Bill DOESN'T have a weird undefinable ex-partner thing with... Mabel! Alex has says in multiple official media and interviews that Bill sees a lot of himself in Mabel, and essentially, that he thought Mabeland was the perfect prison because if HE liked all that awesome, uncontrolled chaos over any family or friends, why wouldn't SHE? And we see that again in TBOB. So basically, what I'm saying is that we have two characters to back up the fact that Bill seems gravitated towards humans or other living beings that he views as being 'like him'- beings he can relate to! So, y'know, what does that say about Bill and Ford?

There's also Bill's plans for the reader and "Weirdmageddon 2.0", where he portrays the reader as getting to, like, perch on his arm like a little bird and get their own little crown? And specifically calls out Ford for not going through with things?? Okay, Bill??

AND Ford not only being the only human mentioned on the list of people he "definitely doesn't miss so stop asking", but also having his own category? Alright, man.

Of course, another point to the 'Hey, maybe Bill can actually feel emotions towards humans besides complete and total apathy' club is this page here, which has ALSO been hotly debated! Certainly, we know he's telling the truth about his home dimension being destroyed, and we know that he's lying about the 'monster', but some interpret this scene as Bill not being remorseful at all and playing his reaction up to earn Ford's sympathy. And me, personally, I dunno if I agree. I feel like the specific inclusion of Bill "looking distant, more distant than I'd ever seen him" (Mirroring the fact that he keeps blacking out when thinking about all his large-scale massacres) and him "laughing joylessly", I think this sequence is meant to tell us that Bill actually is being vulnerable with Ford here, it's just hidden under layers and layers of deceit, whether towards himself or Ford or both.

And finally for my Book of Bill collection stuff, there's the stuff that could be read as more romantic in nature. In the 'love' section, Bill claims he doesn't love anyone, but, like-

Come on. You can disagree with me that it's Ford, but he does have exes. And he's clearly not over them. Shrimpy little liar. And then there's the fact that a lot of his hokey 'advice' is stuff he ends up directly doing to Ford.

These rats.

The Love Cage.

The Book of Bill really outlined all that in bold, but in my opinion, it was never an entirely new revelation! Bill seems to hold a preference for Ford over other humans in the show. He shows up in Ford's dreams just to say hi, tease him, and gloat (Mabelcorn) unlike the other two dream appearances he's made (Dreamscaperers, Sock Opera) which were exclusively for business purposes. Unlike every other character that gets exclusively one nickname for their zodiac sign, Ford gets multiple (Fordsy, IQ, Sixer, smart guy, brainiac, the list goes on). Bill asks Ford to join him TWICE, whereas anyone else who tries gets their face rearranged, put in a cage and made to dance, frozen in stone, etc etc. And finally, I think, the most emblematic of Bill's weird, specific relationship with Ford, is that whereas everybody else gets turned into stone, Ford got turned into gold.

Which kinda sums up their whole thing up pretty well? Bill gave him special treatment by turning him into a golden statue (similar to yellow ha ha), always holding him close, but, like... Dude. You still kidnapped a man and turned him into a statue and then threatened to kill his niece and nephew. I don't think it will change his opinion on you if he's the Most Pampered Hostage, Actually. I just don't think that we need to explore the relationships between characters as simply "Well, this character hurt the other one, so we shouldn't really think about why or what they feel personally, because what they did was bad, so there".

Bill & Ford interest me because they're a tragedy in motion. We can see that Bill and Ford mirror each other in a multitude of ways, and we can see that they both do have positive feelings towards each other at the time they meet, and we see that Bill very desperately wants Ford to be just like him in the unhealthy ways; the ways that make Bill destroy entire universes and compartmentalize it all, because maybe then, he can finally have the companionship he so deeply aches for. Bill and Ford both had tough, lonely upbringings, but Ford moved on from that "I don't need you" mentality. That's what saved him. Bill didn't, and that's what got him where he was in the end. I feel like that's just so much more interesting than Bill just being a flat entity that makes abuse Happen to Ford, just as another Event in his life. I mean, isn't it just SO much more interesting that Ford humanizes Bill, in a way? That Ford makes him- in Bill's own words- "sentimental"? That a chaotic dream demon has regrets and loves and favourites and connections? It's the same thing with Fiddleford & Ford, although, obviously, to a MUCH lesser extent than Bill & Ford. But you get what I mean, right? You know that Fiddleford and Ford are going to undo each other in the end, and the path to that downfall is... it's telling a story! I like the story of it all! I think that's what I've been invested in and intrigued by all these years- the story, the tragedy of Bill and Ford. No matter what form it takes.

(Plus, as tumblr user fordtato pointed out in their own essay (not tagging because this post is messy enough as is oh god), hey, Ford now has two incredibly queer-coded narratives, with one of them being about how he recovered and was able to heal from an abusive relationship. And, well, I think that's just neat.)

Anyways, that's the end of the post. Thanks for reading this long!

[stealingyourbones]

Why does DC hate Jason Todd so much??? He's literally Babey!!! 🥺

You probably aren’t me expecting to respond to this factually but fuck it here we go. Because he was a little rat fuck who replaced their favorite Robin character for a shitty carbon copy.

I wasn’t in the comic scene, or alive, when that happened in comics, but Jason originally was a carbon copy of Dick. He grew up in a circus, was in an acrobatic troupe called the Flying Todd’s, and his parents died by the hands of Two-Face.

The next Crisis had his backstory changed but the fans still viewed him as the bad Walmart version of Robin.

(For the readers:)He was a shitty replacement for Dick Grayson that had been Robin for so long and readers didn’t like the new guy taking over the role.

He doesn’t have a memorable Robin stand-alone series, he was uncharacteristically ruthless for a robin, he replaced Dick and didn’t have any of the Grayson charm that made Robin so loveable, he was arrogant at times and bashed in general. People wanted Dick. Not this other guy.

Nowadays why they hate him?

Simple and yet layered reason:

He went from a very wonderful villain in the comics and got later boiled down to an anti hero. Most people I know that dislike Jason now preferred his villain arc. I prefer it too honestly but if we didn’t have anti hero Jason, we wouldn’t have the interactions he has with the batfamily at all and I really enjoy those scenes in the comics.

His characterization is all over too. He goes from absolutely batshit insane in some comics to angsty ninja boy, to essentially a little bit feistier Ric Grayson (I’m so sorry it’s my take DC fans please don’t fight me).

Also, his death was a BIG thing in comics and him coming back ruined the meaning behind his death.

Back in the day there were three deaths in comics that always happened and never changed. They were deaths that grew other characters around them. Those three were:

- Bucky Barnes from Captain America

- Jason Todd from Batman

- Uncle Ben from Spider-Man

Their deaths hold major stepping stones to character arc changes and how the main character acted for the rest of the comics. They were always the main characters greatest tragedy and a core part of their lore.

Of course two of these are now changed. Bucky Barnes is back as the Winter Soldier and Jason is back as Red Hood.

But that death was sacred for a while. For 20 years he was dead. He was Batman’s greatest tragedy. You did not fuck with Batman’s greatest sorrow. And they did it after (incel) Superman Prime punched the universe so hard Jason Todd came back to life.

Additionally, lots of comic writers just don’t fucking want to deal with him. Same with Damian I feel like. They throw both under the bus because they’d rather be writing other characters.

Most of this is my observations but if anyone else has any other comments to add feel free.

[struggling-jpg]

Thoughts About the Potential Underlying Hidden Tragedy of Yanqing and Jing Yuan

that isn't just the "Yanqing will have to kill Jing Yuan eventually" red flags.

A relatively longer-ish post so thank you for bearing with me if you choose to do so!

I'd already been thinking about this whole mess of thoughts for a long while now, and so have other people, but the urge to write this came from a comment I saw on a post that mentioned how Yanqing had lost to "Jing Yuan's ghosts" and overall how it contributes to the dynamic of them being mentor/mentee + father/son. While the narrative seems to be leading to "Yanqing having to strike down a Mara-stricken Jing Yuan," there's just enough weird points that stick out to the point some alternative outcomes for Yanqing and Jing Yuan's fates to play out.

And while I anticipate HSR to follow that most expected point, I feel like there's enough there that could lead to a subversion or something more likely than that, an additional twist to the knife alongside the expected point.

Jing Yuan's Flaws as a Mentor and Father-Figure:

While most of us love the family fluff, I'm pretty sure we can all acknowledge the issues in Jing Yuan's approach and decisions in regards to Yanqing. Yeah, this is a fictional space game story where it's likely they aren't going to delve into the consequences of having someone as young as Yanqing be a soldier, there seems to be something there regardless. Like the brushes with death that he has and how we see him have to worry about the Xianzhou's security as a teen due to having a higher position in a military force. This is all set up for more of a coming-of-age type narrative for him, which HSR has done amazingly so far, but there are a lot of chances for this to explore something darker.

Among official media, the one time I could even remember the term "father" being used in relation to Jing Yuan is in Yanqing's official Character Introduction graphic:

Another notable thing that we see here is how we do have moments where Yanqing expresses thoughts and questions about his own origins and birth parents. The fact that even here, he wonders if the general is hiding something from him, sets off some alarm bells in my head. But he then brushes that off because he's always been with the General and Jing Yuan accepts him for who he is (which under the theory that Yanqing originates/is connected to the Abundace adds a whole heavy layer (this will be discussed in a later section)).

Yanqing does something similar in his texts:

As Huaiyan says to Jing Yuan:

"Yanqing can understand your concerns."

Alongside Yanqing generally being a considerate and polite boy, it can possibly be said that his eagerness to share Jing Yuan's burdens not only stems from his own gratitude towards him but possibly also Jing Yuan's distance.

As in, Jing Yuan doesn't really express his feelings so blatantly, and what we can clearly tell from when Yanqing first met "Jing Yuan's ghosts," neither does he speak much about his past too on a personal level. In Jingliu's quest, Yanqing says that Jing Yuan simply told him to forget everything he saw that day.

For Jing Yuan, the loss of the quintet is a grief that feels fresh in his heart, especially with echoes of them running around him. This is in the description for "Animated Short: A Flash":

(Will also talk about this in a different section)

While Yanqing learns about his General's past in a more direct manner (aka the people involved), it's sad how avoidant Jing Yuan is at times. While he's never been a upfront person, especially in the case of solving problems, I wonder if HSR would go as far as to show the negative side of that in terms of raising and teaching Yanqing.

History Repeats Itself (Sometimes It Don't Need A Reason):

+ the Jingliu parallels

Following up on that last image, Jing Yuan, especially in A Flash, has that whole "history repeating itself" thing going on for Jing Yuan. It points to Yanqing having to take down Jing Yuan but it also comes with a lot of its own possibilities and meanings.

It's blatant that Yanqing parallels Jingliu to an unsettling degree. Anyone who personally knows Jingliu and meets Yanqing sees her in him. Jingliu probably sees herself in him as well. Beyond powers and passion for the sword, her Myriad Celestia trailer shows that her principles before getting struck with Mara were the same as his. But it took her losing her dear friends in such a cruel and brutal manner (alongside how long she'd been alive) for all of that to fall out and form the version of her we see today.

And while it seems that Yanqing is deviating from Jingliu's due to the teachings he's learning, especially with Jing Yuan's effort, I feel like there's still a chance for things to go so wrong and mess with that. Yukong's line about him strikes me as concerning:

"A sword will vibrate and beg to be unsheathed if it is unused for too long... Once unsheathed, it will either paint the battlefield in blood, or break itself in the process..."

Even though I don't think HSR will go down a route of tragedy with Yanqing, like say, he gets Mara struck somehow or killed because that's not how Hoyo's writing has fully gone for playable characters (Misha and Gallagher aside in terms of death). Even in the most despairing parts for Hoyo's games, they're usually outlined and tinged with hope in one way or another. It's just that with what's been presented, there's got to be more here than meets the eye.

Yanqing's Origins - The Breaking Point:

From what we've been given, I think the number one thing that would have the potential of shaking Yanqing's entire sense of his life and the reality he lives in is learning where he comes from. Where he actually comes from has been a strange mystery since the beginning, how Jing Yuan getting him being recorded in the military annals of all places.

As shown from the screenshots of Yanqing's texts, he doesn't know and tries to brush it off because he's happy with Jing Yuan now. The choice to have this aspect here leaves a lot to ruminate on. What is Jing Yuan hiding? And if he really is witholding information, does he ever intend to tell Yanqing? If he doesn't and Yanqing finds out, how will it play out? And even if he does mean to tell him, depending on the severity, how will Yanqing take it?

It's why the theory that Yanqing is connected to the Abundance, possibly even coming from it directly, is as harrowing as it is.

With his arc in mind, will his development be enough to sustain him when he does find out the truth? If he finds out sooner than he should, will he be able to rise above it? And what of Jing Yuan? If confronted with a situation that's outside of his control again, what will he do and how will he react?

The potential in that scenario is so fascinating to me, because we can all anticipate the absolute gut punch that Yanqing killing his master would be. It fits Hoyo's writing style of something so sad but having a hopeful end for the future type beat. But the idea of that being twisted, that expectation being flipped on its head, could be so agonizing. It's not a narrative we see too often explored, at least in my experience, so maybe that's why I'm brainrotting over it so much lol.

[do-you-ship-this-comic-ship]

propaganda:

They. Just... THEY! It's a funny ship, but is also one that actually helps to explain Alfred's whole THING a great deal better than if they weren't in a relationship together! Alfred may have gone to butler school but it's not really what he ended up doing in life, nor something that he really wanted to do with his life. Alfred actually does a number of things that would be considered EXTREMELY unprofessional for him to do as a butler. But as Thomas and Martha's bestie/lover who also knows a great deal about cooking and cleaning because he went to butler school once...? Why, they wouldn't keep him around if it wasn't for his sarcasm and unprofessional behavior! Plus the whole butler act comes with getting to dress Alfred up in a bunch of cute, handsome, and VERY flattering outfits! (After Bruce was born, they decided to retire the maid's outfit... Temporarialy... They thought it might be a but much to introduce little Bruce to.) And Bruce and the Wayne family fortune going to Alfred, /the butler/, in the event of their deaths!??? CLEARLY Alfred had to have been more to them than JUST their manservant when there were plenty of other candidates for Bruce to have gone to after their deaths! This ship is just taking that to its logical endpoint. More than a servant... Their closest confidant and friend... Who lived in their house with them... And knew their every secret and trusted them to him in confidence... A butler so beloved that they gave all of their wealth and son to him in their wills... Well... Something is going on here, and it sure as hell doesn't smell monogamous! But gotta say, LOVE that for Alfred! Alfred is the BEST! Period. And he deserves the best! And being the lover to Thomas and Martha? Can't get much better than that! You know... other than the tragic murder... But it also just adds another layer of tragedy onto the pile! That was Alfred's husband and wife right there! He saw them only a moment before... The man and woman he thought that he'd be spending the rest of his life with... Gone in an instant. Leaving their traumatized son behind... We all know that Alfred is more than just a butler to Bruce. Alfred is in every way Bruce's father. Bruce could never fire him, even if Alfred is unprofessional and uncouth at his 'job.' And clearly Bruce is more to Alfred than just someone he works for. Bruce is his son. So why not make Bruce his son in more ways than one? Alfred loves the Waynes in all of the ways! He's the glue that keeps them together and sane! And that can include Thomas and Martha! If DC weren't cowards, they would make it canon! Alfred can be bi and poly. As a treat!

[blasphemousclaw]

Like I do genuinely think they maybe should have replaced Radahn’s appearance with Godwyn’s instead? I know his soul has been slain, but I just like the idea that even the kindly Miquella is still on this naïve journey to become a god and bring back his dead brother to become his lord who honestly wouldn’t really be the same and would probably just be a husk of Death incarnate itself, but he wouldn’t care because he’s still grieving for him.

With that being said, the whole Metyr lore was super good, the whole reveal that the two fingers actually don’t really know what’s going on and they’re kinda just pulling shit out of their ass just adds a whole layer to the tragedy of the game, like all of these events were really for nothing and it just makes the Frenzy Flame ending and Ranni’s ending more understandable

ehhhh I absolutely see where the “it should’ve been Godwyn” mindset comes from and I agree with a lot of the arguments to an extent, but I’m not sure bringing back Godwyn’s soul entirely works for me?

I think Miquella’s attempts to return Godwyn’s soul were always going to fail, because his soul was completely and permanently destroyed by Destined Death. The ending to Gurranq/Maliketh’s quest is basically that things can never be the same again, so I don’t think there’s really a way to bring back Godwyn’s soul without it feeling like a contrivance? I really like the fact that he’s a character who can’t ever be brought back; his death was the catalyst for everything, a point of no return. Godwyn not being able to come back gives Ranni’s actions a special weight, that she was willing to permanently destroy his soul if it meant being free from the Two Fingers.

But with that being said, I absolutely see the sense in saying that Godwyn should’ve been Miquella’s lord. What’s strange to me is that Godwyn was set up in the base game to be a beloved older brother figure to Miquella — there’s the statue of him with Miquella and Malenia at the Haligtree, there’s the Golden Epitaph with Miquella’s prayer that he might die a true death, and there’s the spirit at Castle Sol, implying it was Miquella’s intention to return Godwyn’s soul through the eclipse. And now the DLC says that Miquella always looked up to Radahn as an older brother, when this relationship was never even hinted at in the base game, so it ends up feeling out of nowhere. If Radahn was always the one Miquella envisioned as his consort, then why is Godwyn the only brother he’s ever shown to have had a significant relationship with?

And, it’s also true that Godwyn ending the war against the dragons with diplomacy and bringing about peace really embodies what Miquella would consider admirable, since his quest in the DLC is in part to heal the hurts caused by Marika’s war of vengeance long ago. Radahn, on the other hand, is known for idealizing Godfrey, who helped Marika enact her wars of conquest, and for loving conflict so much that he literally fought the stars themselves. Miquella was said to have admired Radahn for his strength and kindness, but there aren’t really any instances showing Radahn being renowned for his kindness, except for his love for his horse? (the loyalty of his soldiers doesn’t count. Rykard had die-hard soldiers too and we know what he’s like)

On the other hand, I feel like Radahn as Miquella’s consort works thematically as a concept because Miquella’s journey in the Shadow Lands mirror’s Marika’s own ascent to godhood, and Radahn is like Godfrey’s spiritual heir. I’m also compelled by the idea of Miquella idealizing a young Radahn for his strength and kindness, only for Radahn to become corrupt during the Shattering, warring for the sake of war… which is why Miquella brings back specifically the young version of Radahn whom he idealized. It’s like a vision of Radahn colored by a child’s naïveté, and it belies the irony of beginning an “Age of Compassion” with the demigod who idealized war the most at his side. I think all of this makes for a more interesting story than Miquella somehow bringing back Godwyn’s soul.

BUT I still believe that this story was not developed enough. Again, we don’t SEE enough of Radahn’s relationship to Miquella hinted at beforehand, so this FEELS like a cheap plot twist. Godwyn was the one with the established relationship to Miquella in the base game, so it being revealed that Radahn was actually the one he always wanted to be his lord is like… huh? since when???

anyway I also really loved Count Ymir’s quest and the revelations about the Fingers… the Two Fingers say that the Greater Will hasn’t abandoned this realm, but I think it’s clear now that they’ve been without the Greater Will’s guidance for a long, long time. Since we know Count Ymir was Rellana’s teacher, I wonder if his distrust in the guidance of the Fingers somehow came to influence Ranni?

[balteus]

Elden Ring SOTE and its consequences have been a disaster for the human race

//j (spoilers ahead)

I'm gonna be honest initially my opinions on the story were pretty mixed, and while that still is the case in some respect, the overall story and its implications have grown on me and made me like certain characters (mohg, malenia, radahn) even more, and add a layer of tragedy to what we know about them from the base game. while i am aware the story overall was forced to bend by the gamedev crunch, I think FS did a good job with the time and resources they had available.

caveats of this post: obviously going to be colored by my own opinions and views I've held abt the story since abt march 2022: that being, Marika is a Nashandra parallel through and through, and Miquella is a benevolent but manipulative hypocrite - "Path to hell is paved with good intentions" the character. I'm aware there's plenty of discourse about the interpretations of these characters but just remember: I have never been wrong ever in my entire life <3

Malenia, despite her overall lack of appearance in the DLC, I personally feel the most about given certain... revelations.

Malenia is a character who has always lacked true agency, lived her life in a state of fighting against the inevitable and looking up for anything to alleviate her suffering and help her push through the sheer horror that was her fate. Very much a white-knuckle-gripping the dirt while drowining in her grave kind of character.

And so... SOTE reveals that Miquella was willing to sacrifice her. It reveals that for all his posturing, his leaving the golden order because of her, Miquella was fully willing to throw his own little sister who looked up to him as a lord and savior, to the wolves. He was willing for her to become the thing she hated most, was willing to order her to do it even, if it meant his plan would inch one step closer to fruition. In sending her to fight against Radahn and which consequently led to her bloom and ultimate decay. and it didn't even work. Malenia lived and fought and died never knowing that her ultimate mission was a failure, that in her blinding loyalty, much like her father's, she destroyed herself. The fearsome "Blade of Miquella" herself, and the dream of her healing she had once shared with her brother, was discarded as easily as a butter knife.

Radahn, on the other hand... man. Isn't it funny how upon being told that Miquella awaited him in his death, the man straight up refused to die for centuries? The entire Radahn festival becomes recontextualized once you realize that Radahn would rather let himself become a rotting, shambling, mindless corpse before he allowed himself to become a part of Miquella's plan. I know some people think he was willingly taking part in the vow - but remember, Radahn had to die for the vow to be fulfilled, as we learn - and knowing everything we do about him - would Radahn abandon the Redmanes, Sellia, the entire Caelid, the land he fought the stars over - would he let them be destroyed for Miquella? He gains absolutely nothing from that transaction.

I get discourse-y here but his death is anything but a warrior's one, if you take that to be the promise Miquella made to him in return. Perhaps in the grand scheme of things, you could say that you're putting base game Radahn to rest, but with the context of the DLC, you're subjecting him to a fate worse than death.

Mohg. Not much to say abt him I'm just really happy Mohgposting is legal now <3 Free my man he did nothing wrong the blood cult was based and mohgpilled actually.

[fiddler-on-the-starship]

Spoilers for Transformers One.

On the one hand, I do think Orion was right when he said "rebuilding Iacon cannot begin with an execution" (they'd just thoroughly trounced Sentinel in every way, he wasn't a threat anymore, there wasn't an immediate need to kill him beyond the desire for revenge).

On the other hand, on a purely visceral level I do not have a problem with Sentinel getting ripped in half because fuck that guy lmao. Get your revenge, Dee, you deserve it.

But on the other other hand, I do believe that Orion's actions were motivated not by any desire to save Sentinel, but by concern for Dee. (I think these posts make a good point about that; it doesn't seem that Orion was even deliberately trying to sacrifice himself when he got shot, I think he just wanted to get between Dee and Sentinel so he could talk to Dee.)

But on the other other other hand, Orion really did not choose his words well in that scene. "Don't be like Sentinel" was the WORST thing he could've possibly said, all things considered. A while ago I saw a post that described it as "telling a victim they're just as bad as their abuser" and yeah, I agree with that assessment. That probably wasn't how Orion intended that to come off, but there's no way it wouldn't have sounded like that to Dee. Maybe it wouldn't have been possible to talk Dee down from killing Sentinel in that moment, but if it had been at all possible, that was definitely not the way to do it.

However, while this leads to a horrible outcome for the characters, I'm not sure it's such a bad thing for the narrative. It's painfully realistic, actually. Sometimes, people who have nothing but good intentions will say stupid, hurtful things. Sometimes, when someone is in a state where all they can feel is pain and rage, they will lash out without thinking of the consequences, and in doing so they might hurt someone they love. Obviously in the real world this does not usually involve a giant robot shooting another giant robot with a laser cannon, but that's one of the great things about sci-fi and fantasy; a laser cannon can be a metaphor for the horrors we face in real life.

Also, based on Orion's behaviour up until that point in the movie, it's pretty in-character for him to say the worst possible thing at the worst possible time to someone who is clearly suffering. You can tell he has a lot of compassion and generally means well, but that doesn't stop him from being an insensitive dick at times. And I like that. I like it when characters have Layers. (Orion and Dee both have a lot of Layers, and I am fascinated by the way some of the same personality traits manifest very differently in each of them, but that's not what this post is about, perhaps I'll ramble about that another time.)

Basically what I'm saying is:

I think Orion was both right and wrong (right about it not being necessary to kill Sentinel, and right that a public execution was a bad fucking idea; very, very wrong in the way he expressed that to Dee),

I'm not going to say Dee did nothing wrong, but I completely understand where he is coming from (and I'd be lying if I said that when he killed Sentinel there wasn't a part of my brain screaming YEAAAAH, YOU GO GIRL, RIP THAT FUCKER APART),

I think that Optimus Prime should have flaws and fuck up sometimes, because that makes him more interesting as a character, and in the case of TF1, because having him inadvertently contribute to Dee's downward spiral adds to the tragedy of it all (and I do think this movie can rightly be called a tragedy of Shakespearean proportions),

and, above all,

FUCK Sentinel Prime. Seriously, fuck that guy SO much.

[sunsetconcert]

In 1994, the Muppets made one of their most bizarre films to date.

An adaptation of Goncharov, a cult classic that languished in obscurity until the 2020s. While the film was referred to internally and in public reviews of the film as "The Muppets of Naples", the actual marketing of the movie instead titled it after its main lead: "Gonzorov". This was one of many enigmatic choices made by the production crew, and has never been elaborated on by the cast or crew. The film was a gigantic flop for multiple reasons, but most agree that the source of the troubles stems from the nature of Goncharov as a tragedy and a generally depressing movie to watch.

Reportedly, conflicts among the writing staff began almost immediately due to being unable to decide on which cut of Goncharov to base the film on. Eventually, however, director Brian Henson put his foot down and forced the writers to adapt the Ambrosini Cut. Generally agreed to be a less depressing movie than the Morelli Cut, it was expected that "Gonzorov" should have been a much more entertaining and narratively adept movie than it was. As the Muppets proved just two years later in "Muppet Treasure Island", they are very capable of handling otherwise dramatic material with aplomb. This leaves the question of why this movie was such a flop.

To quote Kermit the Frog during the interviews after the cinema debut, the movie was allegedly emotionally draining for the crew to adapt. "You know, we have a script. Mostly. But we do a lot of improv too. I'd wager it's about 60% script, 40% improv on a good day of filming. But, uh… We just weren't feeling it with this one, you know? We watched the original, and… Boy, it's really sad. Goncharov's just kind of a lonely guy trying to make himself a life. And it's not a good life, but it's his to own, and it ultimately kinda falls apart. Gonzo tried to make the role his own, but I think we all realised that we couldn't really make a joke out of the movie in the way that we wanted to."

The Muppets were skillful enough to change the genre to an absurdist tragicomedy, a film where the tragic and meaningless cycle of violence is paradoxically played for laughter. However, despite this, the film is well-known for its bizarrely melancholy air and almost hopeless atmosphere. Everybody seems thoroughly certain that their improv will have little to no impact on the film as a whole, creating a strange and compelling meta-narrative where not even the actors themselves can escape the almost gravitational pull of the ticking clock. Their characters will die, and any attempts to joke their way out of it comes off as desperate, almost deluded in a sense.

The original Goncharov held a deep fascination with inevitability. Clocks are the primary theme, though it appears in other forms. It is this same inevitability that strangles the Muppets, their impressive comedic skills held captive by their own belief that the narrative is inescapable.

Of particular note is the bridge scene, wherein Gonzorov and Katya (played by the dazzling Miss Piggy) discuss the slow collapse of the Italian mafia. The original Goncharov scene had Goncharov desperately trying to hold things together, even as they slipped through his fingers, but here… Gonzorov realises that it's pointless. He can't fix it, but at the same time he can't let it go. He begs Katya to shoot him. Cut to the chase. She's going to shoot him anyway, that's how the movie ends, right? Might as well go out on his own terms. But this horrifies Katya, and she throws her gun away, accidentally saving Gonzorov in the process.

This adds a new layer to the themes of inevitability that Goncharov is wrapped up in, and it's this: Inevitability goes both ways. You're going to die, but only when you're meant to. You don't get lucky. You don't have accidents. Inevitability is a ticking clock, but that countdown is a safety net. As long as you can still hear that clock ticking down, it means you've stitll got time to burn. When a bomb is counting down, just five minutes until it detonates, you do everything you can to buy yourself more time on the clock. Even if all your effort only gains you an extra second, that's what you have to do, right? A single second is worth the blood of innocent men.

But again, inevitability. That second you earned cost you minutes, cost hours days weeks months years. The clock WILL run out.

[read more]

[dragonseeds]

what are your thoughts on rhaegar and lyanna?

oh i love them! there’s all this talk of them haunting the narrative and they do, but i’d take it further and say they are the black hole at the center of the story. the choices that they made, starting with lyanna’s decision to defend howland reed and what that meant to both him and rhaegar, who was very likely at his lowest point at harrenhal after the ruination of his careful plans, touched or changed the lives of every character and plot line in the series. the story itself is such a fun mashup of tristan and iseult, lancelot and guinevere, helen and paris, the fall of camelot and all of arthuriana really, the classic trope of the princess in the tower and the dragon and the knight: all of that in one couple and we don’t get to experience any of it with them. we can guess and speculate, but we can never truly know them. we experience their story only through the memories the people who survived the war they ostensibly kicked off, and those memories are all heavily colored by trauma, guilt, nostalgia—alternately faded and sharpened by time. it’s this incredibly fun and brilliant reconstruction of some of the most enduring tragedies in folklore and mythology and i adore it.

hate beyond articulation the way asoiaf.tumblr.edu approaches their relationship and the individual characterizations of both of them, though. just absolutely some of the most insufferably sanctimonious disingenuous decontextualized analysis i’ve ever experienced—much of that coming from people viewing this through a historical lense instead of a thematic one. like, imagine approaching the battle of the trident as “rhaegar is a bad person for fighting for his father who was evil! he lost the moral high ground with that one” as opposed to “rhaegar as a character exists to fail and die; he was the last dragon, carrying the unbearable weight of his family’s legacy and the burden of the prophecy for which they conquered westeros: the end of his life is the end of the targaryen dynasty. he must fail and he must die, so that dany and jon can grow up free of that weight and that power. daenerys gets to redefine what it means to be targaryen on her own terms. she and jon separately and unknowingly do the things that he thought he had to do—the things he was conceived and born to do—but never knew how: they do it because of their circumstances, because of the people that they have grown into, because they believe it is their duty, because they have the power to do it.” also, like, re: interpretations of battle of the trident, is there maybe another battle that occurs later in the series that is exactly the same thematically and contextually? where perhaps a character who was missing for a while shows up on the eve of battle, knowing that the opposition is right and their cause is just but that his family will die if he doesn’t fight with them? anything that adds an extra layer of meaning to what happens, aside from dany’s own connection—which is not as thematically similar but is still incredibly meaningful. like i certainly don’t think there’s any one interpretation of a character or story, but the worst ones are consistently applied to rhaegar.

and then with lyanna in particular, it’s like people cannot stomach her or find her sympathetic as a character unless they’re wallowing in her eternal victimhood. the constant dismissal of the importance of lyanna’s actions and what they meant to rhaegar is pure misogyny, by the way. her choices and her agency, the inherent meaningfulness of the struggle for both of those things in a system that seeks to reduce her to her body and the use men can make of it—all of that is important. the person she was and what that meant to people was important, but from the way i most often see her discussed, it’s like her gendered death is the only thing that matters. it’s okay to lament her because she got crushed by the wheel. if she hadn’t, if she wasn’t a victim to write flagellatory meta about, she would be a hypocrite, someone who needed to learn a lesson—as difficult for some of these people to relate to as dany or rhaenyra apparently are.

like, it’s just wild to me because her kindness to howland reed and her choice to defend him, to disguise herself as the knight of the laughing tree and risk her life and reputation to fight for him—is the answer to and the embodiment of one of the most thematically significant questions in the series. we see it most prominently in dany’s chapters because she asks it directly: why do the gods make kings and queens if not to protect the ones who can’t protect themselves? that’s what lyanna did, when no one else was doing it: she had more honor than any knight at that tourney or any man sitting on the small council, and it meant something to rhaegar. like what about this is hard to understand? i think he must have idealized her immediately: she must have seemed like something out of a song or a story to him, and rhaegar was a singer, a songwriter, a bard: he knows how stories are supposed to go—how to finish a song, or at least he thought he did.

bran, who also loves stories, says it himself: “and the mystery knight should win the tourney, defeating every challenger, and name the wolf maid the queen of love and beauty.” like obviously bran has some critiques i cut out, but he has the ending right—only the wolf maid was the knight, and she couldn’t have won. in the feudal gender prison, women are rewarded for being beautiful and their worth is derived from that and from what their bodies provide. she should’ve won the whole thing, but the system doesn’t allow that, so rhaegar—in a fit of single-minded capital r romantic hero idiocy—dedicates himself to winning the tourney to honor her in the only way he can: the only way the system allows him to recognize her. it was the worst possible move he could make at that time because of the romantic connotations, but i love him for doing it, as stupid as it was and even though there is no way it didn’t hurt and humiliate elia, or make him look terrible when he desperately needed to make a good impression on the lords of the realm—it’s just such a Moment. being reminded that there’s good in the world—feeling hope in the face of endless abject overwhelming despair—how do you express gratitude for that? the idea that he could only doing it by hurting someone who didn’t deserve it and making himself look like an ass is fucking awesome. i’m genuinely so sorry for people are incapable of enjoying that. could not be me!

but that’s just my interpretation of what happened at harrenhal. like i said, part of why i like them so much is that we truly don’t know. while i love darker relationships in general, the idea that he crowned her at harrenhal because he wanted to impregnate her then does not work for me. it’s a popular theory, but it renders some of the very few contextual clues we are given about what happened meaningless. for one, he didn’t know that elia wouldn’t be able to have more children at that time. this was discovered after she gave birth to aegon, and that is the point at which the question of the third child appears to have become a motivating factor for him. i personally think he left for the riverlands to consult with the ghost of high heart—the one whose prophecy is the reason he was born, the reason is parents were forced to marry, the reason his family burned alive the night he came into the world—and ran into lyanna somewhere near harrenhal. it’s possible he had been in contact with her prior to this (how? without her family knowing? what are the logistics of that?) but i think it’s just as likely it was pure chance. i really like the idea that his crowning her queen of love and beauty caused lyanna’s father to set a date for her wedding to robert or talk of moving it up, maybe even suggest a double wedding at riverrun, which would have almost certainly caused her to balk. either way, high heart is located between harrenhal and riverrun. arya also stops there while she’s kidnapped by the brotherhood without banners on the way to ransom her to her family at riverrun, and they trade songs to the ghost for her dreams and prophecies. i think it’s worth noting because arya’s journey in the riverlands mirrors lyanna’s right down to her “death” as arya stark when she leaves for braavos, paying the ferryman’s fee with the coin jaqen h’ghar gave her—just as jon’s journey at the wall mirrors rhaegar’s in many ways right up until his own death.

i also don’t think rhaegar and lyanna eloped because they were in love—this is implied by lyanna’s famous quote—but that they did come to love each other deeply, which is suggested by the way they died: her roses and him saying her name. notably, rhaegar did not leave the tower of his own volition—someone had to come and get him with news of war, which is hilarious because i think the tower of joy is right in the middle of like three major battles of the rebellion? like quite frankly, if he didn’t love her or care for anything beyond the prophecy and if she didn’t love him despite how badly things went wrong, then where in their story is the heart in conflict with itself?

i do want to clarify that i love the tower entrapment and the power imbalance aspects of their relationship as much as i love (what i interpret as) the genuine respect for each other that grew into love: it’s really the tension of those disparate elements that interests me. a dragon can love the maiden, but he’s only ever a dragon—still liable to hoard her like treasure or burn her up and rip her open trying to be gentle, to protect. that FUCKS, sorry! love is sweet and hopeful, but it’s also at exactly the same time horror, consumption, destruction.

idk it’s myopic to act like the beginning or the ending of their relationship—of their lives—is the summation of it. i think people want their story to be easy when it’s not: a clear case of a villain and his victims where everyone knows who to root for and no one has to think too much about things that are difficult or uncomfortable, questions where there probably isn’t an answer that doesn’t hurt someone. what a sad, tedious way to approach any text, but specifically this one. i’ve sometimes seen it suggested that if their story is romantic then it’s an endorsement or justification of all the “bad” things that happened because of it, and that’s also stupid. grrm as an author is never going to be someone who tells us how to feel about anything: he presents these characters and situations, often as a means of exploring certain facets of the human condition, and each of us has to come up with our own answers and find our own meaning. i don’t think he always knows what he means, or what those answers are, you know? but for me rhaegar and lyanna are one of the most fascinating parts of story, and whatever the truth is—if we ever find out—i can’t imagine a scenario where i don’t love them or find them really interesting and wonderfully sad.

[gojuo]

what Are your thoughts on show aegon trying to escape when he finds out Viserys is dead and they want to make him king? in the books he was with some paramour, no attempt to escape is mentioned.

Though the good septon admits Prince Aegon was with a paramour when he was found, he insists the girl was the daughter of a wealthy trader, and well cared for besides. Moreover, the prince at first refused to be a part of his mother’s plans. “My sister is the heir, not me,” he says in Eustace’s account. “What sort of brother steals his sister’s birthright?” Only when Ser Criston convinced him that the princess must surely execute him and his brothers should she don the crown did Aegon waver. “Whilst any trueborn Targaryen yet lives, no Strong can ever hope to sit the Iron Throne,” Cole said. “Rhaenyra has no choice but to take your heads if she wishes her bastards to rule after her.” It was this, and only this, that persuaded Aegon to accept the crown that the small council was offering him, insists our gentle septon.

Fire and Blood, p. 398.

You see, I don't think portraying Aegon as someone who knew what was coming for him once his father died and running for the hills trying to escape that fate is an inaccurate or uncomplimentary interpretation of this moment at all. It adds a layer of tragedy to both his character and the general situation at hand if he has the understanding that just his mere existence means certain war.

The actual issue with HOTD's version of this passage is what the writers deliberately took out and what they replaced it with. Any time an adaptation removes something that is in the source material, anytime it makes changes to the source material, whether it be an addition or substitution, you have to ask yourself: why? Why would they do this? Why did the writers for HOTD ep. 9 take out the part in this passage where Aegon is convinced by Criston to take up the crown because not only his life, but the lives of his entire family members are in mortal danger if he doesn't and replace it with a line wherein he says he will abandon every single member of his family instead, even his dragon ("Let me find a ship and I'll sail away, never to be found.")?

For what reason was this change made? What does this deliberate change to not just Aegon's motivations to act & his character arc, but Criston's and the entire Green cause as well mean? Well, you don't need me to explain it to you because I have been bitching and moaning and ranting and shouting about this transparantly deliberate change to the canon for over 2 years now, ever since that piece of shit episode 9 aired in 2022. Seriously fuck this show. These writers are so fucking childish, downplaying the Green cause at every turn and taking away everything that was good about Aegon and replacing it with something that makes him look worse than he was in the book (like how in the show they changed the plot so much that he now deliberately abandoned Helaena and Jaehaera for no real reason unlike in the book). I genuinely hate everything about HOTD.

[sorcave]

PLEASE PLEASE PLEASE, let's talk about Nerites and Poseidon. The myth of Poseidon and Nerites is one of the more obscure stories from Greek mythology, but it stands out as a deeply emotional and intriguing tale that highlights a different side of Poseidon—one that is rarely explored. Poseidon is usually depicted as the tempestuous god of the sea, known for his anger, destructive power, and relentless pursuit of lovers. But in the case of Nerites, we see a much gentler, almost tender version of the god, one who is capable of love that isn’t about conquest or dominance. This myth, though not as widely known, offers a refreshing perspective on Poseidon and the complexities of divine relationships.

Nerites was a sea god known for his unparalleled beauty. Living in the depths of the ocean, he attracted Poseidon’s attention. What makes this story different from many of Poseidon’s other romantic pursuits is the element of choice and mutual respect. Poseidon was so enchanted by Nerites that he offered him the chance to join him as his charioteer on Mount Olympus, effectively offering him immortality and a higher status among the gods. This is significant because, unlike other myths where Poseidon is forceful or demanding, here he offers something to Nerites. There’s an implicit respect for Nerites’ autonomy that stands out in the broader landscape of Greek mythology.

Nerites, however, declines Poseidon’s offer. Whether it was because he didn’t want to leave the ocean or because of a deeper emotional connection to his life in the sea, we don’t know. But the fact that Nerites chose to stay is important—it shows that love doesn’t always mean ascent to power or higher status. Nerites was content in his life as it was, and Poseidon, despite being a god who could have easily forced his will, allows him to make this choice. This sets their relationship apart from many other god-mortal dynamics, where the god typically exerts control. The fact that Poseidon doesn’t punish Nerites for his refusal is remarkable—there’s no act of vengeance or anger, which would be typical of Greek gods who are often portrayed as vengeful when spurned. Instead, Poseidon accepts Nerites’ decision, which speaks to a deeper emotional maturity and connection in their relationship.

The tragic end of the story adds a layer of poignancy that makes it all the more memorable. In one version of the myth Helios, the sun god, becomes jealous of Nerites’ beauty and transforms him into a sea snail. This act of jealousy by another god emphasizes how desirable and important Nerites was, not just to Poseidon but in the divine world as a whole. Even after this transformation, Poseidon remains connected to Nerites, and it’s implied that Nerites continues to live in the sea, in some form, forever tied to the ocean and, by extension, to Poseidon.

What’s so compelling about this story is how it subverts many of the expectations we have about Poseidon. In most myths, Poseidon’s relationships are marked by violence, aggression, or manipulation. But with Nerites, we see a god who is in love, not with the idea of domination, but with someone’s beauty and spirit. He doesn’t force Nerites into a role he doesn’t want—he offers and respects the choice made. The tenderness of this story, coupled with the tragedy of Nerites’ eventual transformation, makes it stand out in Greek mythology as a rare example of Poseidon’s vulnerability and affection.

Additionally, the myth of Poseidon and Nerites introduces a same-sex relationship within the Greek pantheon that doesn’t get nearly the recognition it deserves. Many of Poseidon’s other relationships overshadow this one, but the connection between him and Nerites adds depth to Poseidon’s character and challenges the more traditional portrayals of masculinity and power among the gods. In a mythological landscape that often focuses on heterosexual pairings or uses same-sex relationships as a way to emphasize power dynamics, Poseidon and Nerites’ story feels more balanced, driven by affection rather than control.

The tragic end only adds to its poignancy—Nerites remains part of the sea, in some ways always with Poseidon, but in a transformed, more distant way. This transformation is symbolic of how love and beauty can be fleeting, and even the gods are not immune to loss. Poseidon’s relationship with Nerites may not have the grand tragedy of The Iliad or the intensity of Medea, but it’s a quieter, more introspective tale of love, choice, and the inevitability of change. It deserves to be remembered and appreciated as a unique and tender narrative within the vast canon of Greek myths.

In short, Poseidon and Nerites' relationship offers a glimpse into a side of Poseidon that is rarely explored—one that is more complex, emotional, and tender. It’s a story of love not rooted in power but in mutual respect and affection, which makes it all the more special.

[charles-simmons]

Very unpopular opinion, but I love the Dsmp canon ending

Specially after we found out they've lived multiple lives (as Eret said, it was like a cycle. Every time it resets, they just start again with no memory). So, PLEASE, let me explain this one

I think a big part of the reason why people dislike that ending is bc it felt like the story was interrupted and there still so much to happen and to develop, but personally, that's part of their tragedy. All of those people, living together over and over again in different complex and messed up lives that they don't quite get an end to.

There was still so much left to happen for those people. So many unsolved mysteries, so many people that never got to heal. It's extremely frustrating to think about it, and there were probably so many other lives where the same thing happened. To me, it adds such a cool layer to their story and it leaves us wondering if in a next live (or in the past ones) they ever got their actual ending. Will their souls ever truly rest? Or are they doomed to never getting closure?

Now, another reason people don't like it's bc of Tommy saying sorry to Dream, which also sounds crazy to me, because that was perfect

It wasn't like was he was forgiving him, or even as if Dream was being redeemed. To be honest, it wasn't even that much about Dream at all.

It's about Tommy. Because no matter how much people hurt Tommy, he genuinely believed no one truly deserved dying. The only reason he was even doing that plan was because he thought killing dream and punz was the only option left. So when he realized that maybe there could be another way, he instantly regretted his decision. He was apologizing for taking away their lives, taking away their chances of changing. It's really not about if they deserved it or not (like, c'mon, dream did abuse him), it's about how Tommy died trying to believe there could be good in people, even people who did terrible things. And that shows so much about him. How even after all that trauma, the hope never left him. You might think that's just being naive, and it probably was, but it's something in Tommy that survived through everything. It's a huge part of his character that never quite died, even after all his deaths.

He and Dream becoming friends in the next life was also interesting, and it would've been awesome to see how that went. In better situations, did Dream ever got to the point he previously had? Are people really inherently bad or toxic, or could've they grew into a healthy friendship? Also, did Tubbo and Tommy got close in that life too? They did stay together until the end of the world, but after that?

Seriously, it had potential. It's a shame we didn't get that sequel, but even without it, I don't think the ending is as half as bad as people say it is. It's not perfect, but it's still kind of awesome.

Well, if you hate the ending and still read this, a particular thank you to you. Also, if you disagree with what I said, feel free to give your reasons, I'll read them too :3 /gen

[firey-passion]

I lowkey kinda hate Endeavor's repentance arc. Not because I don't want to see an abusive character get better, I actually think it's incredibly important to show that people like this are capable of change but that does not inherently mean that you have to forgive them, I hate it because this shouldn't have been the wake-up call.

The wake-up call to all the damage he'd done shouldn't have been when he got what he wanted and realized that it isn't as fulfilling as he thought it be, leading to him reflecting on everything he's done to get there. No, it should've been when his eldest son "died" due to his ambition. He should've figured out just how much damage he was doing when Touya burned himself alive just to become his "perfect progeny" so that he could be "loved" by Endeavor again (he thought Touya was what he was looking for until he actually devolved his quirk and the drawback was discovered). The accident wouldn't have even happened if Endeavor had bothered to properly teach him how to turn off the fire!

To add another layer of how much Endeavor not bothering to reflect on what he's done after Touya's "death", Touya would've likely come back. It's revealed that Touya visited the Todoroki house to see how things had changed after his death, and what made him decided to continue on the war path and become Dabi was that everything was still the same. The only difference is that there was now an altar to morn him, everything else remained the same. If Touya had seen that things had changed after his death, that Endeavor worked to become better because of the tragedy, then maybe he would've stayed. Maybe he would've revealed he was alive and they could've been a family again. Don't know if they could ever be a "happy" or "healthy" family, considering everything around Endeavor and Rei getting married and the nature of Shoto's birth, but they most certainly could've been a family. One that would've stayed together, one with their mother not in a mental hospital, one that could maybe one day become proud to say that Endeavor was their father instead of refusing to his fire out of a strong desire to never be like him. But nope! Endeavor only realized how destructive he was to his own family when his youngest was 16 and "2"/4 of his children were adults (1/4 is "dead" and 1/4 is still a minor), far too late to undo any of the damage he's done. Too little, too late.

[likeabxrdinflight]

I'm absolutely deranged over this sweeney revival and so sad it's closing because I think this might be the only iteration of the show where it's like. very obvious that this version of sweeney and mrs lovett are fucking. like that's pretty clear, right? in most renditions it's played like a largely unrequited thing, with mrs lovett attempting over the course of the show to get sweeney to love her despite the fact that he's utterly uninterested.

that was...that was not the case in this version. and the place where I think that becomes most apparent is actually in "a little priest," because I think this is where the transition takes place. prior to this the 2023 show is playing out broadly the same as usual, with mrs lovett focused primarily on getting sweeney to look at her for more than five seconds while sweeney is plotting his revenge. I'm not sure how annaleigh played it live, since I didn't get to see her take and haven't found any decent (publicly available) clips of her, but sutton made some interesting choices here where she's always got her hands hovering over sweeney but rarely does she actually touch him (this was most apparent to me during "my friends" and "wait"). it was like he was something she desperately wanted to hold but couldn't bring herself to yet. like he (or the tenuous bond between them) was made of glass and she was afraid to break him (and it).

that changes after "a little priest." because for the whole show up to that point, sweeney is, as in every production, completely uninterested in her. he seems to reject her advances, doesn't initiate much if any contact with her, and at most treats her as a business partner. but the second mrs lovett suggests her whole baking-people-into-pies scheme, that seems to change. suddenly he's holding her arms, pulling her into a dance, he grabs her face at one point- it was like this little flash of genuinely visible evil from her (which she normally tries to cover more than he does) suddenly attracts him in a way nothing she'd tried up 'til then had. and sutton as mrs lovett responds to this, and that seemed to be the motive behind her iteration of the character playing up the cannibalism humor and making all these jokes about who they could bake into pies. it's like she's suddenly gotten a dash of the affection from him she's been craving and now she's going to do everything possible to keep him laughing, to keep him focused on her and not the judge.

from that point on in this version of the show, I think they're sleeping together. do I think sweeney ever truly falls in love with her? no of course not, that's entirely against the point of his character. but I do think this version of sweeney has more affection for her than other iterations have. more than any other production I've personally seen, this one presented them as a couple, a real partnership, to the point that "by the sea" reads less as another attempt at seduction and more as a legitimate proposal made from one established sexual partner to the other. (the acting choices here also make it.......................almost impossible that they're not fucking I mean she...there's this whole thing with her feet and his suspenders and it's so funny but there's no way. there's no way they weren't sleeping together, just trust me.) and all throughout that song he reacts with the usual sort of annoyance that you'd expect for the character, but there were a few times I'm sure he smiled a little, I was close enough to see it- and whether that was aaron breaking character a bit or a legitimate acting choice I have no idea- but either way it made him seem a little bit fond of her, even when he was irritated.

some people might not like this, since it does sort of go against what was the original intention in the script, but I think it adds another layer of tragedy to the ending if they were genuinely together. because they were so close. they were so close to having some kind of life together, some kind of happiness that wouldn't ever replace the life sweeney had lost, that wouldn't ever replace lucy or johanna, but it could have been a life. maybe even a nice one (minus the whole murdering-and-baking-people-into-pies thing). but it can't ever be because it was only ever happening under false pretenses. because mrs lovett lied. she almost had everything she wanted, she almost had him, but she could only get it because of that one lie, and she loses it all because of that lie too. and that's ultimately her tragedy.