#it would be such a fucking plot twist

[watchyourbuck]

imagine we get bi Chimney before we get bi Buck lol

[kenchann]

you shouldnt have gone too far 🦈🐬

[1296-very-good-year]

Another thing that drove me crazy is all the character interactions that never happened, or happened offscreen.

Most jarring is probably the Ekko and Jinx reconciliation, but one that nobody talks about is when Jayce and Jinx met for the first time. OFF. SCREEN. Between episodes 6 and 8.

Jayce. Met Jinx. The terrorist who stole and weaponized Hextech and blew up his council while they voted for Zaun's independence and caused literally everything that happened to him in the entire show. They walked all the way from Vik's commune to Piltover together, while they were both at their lowest points. Offscreen. Wtf did they talk about?? Why didn't Jayce like... Obliterate her.

[light-miracles]

Rhaenyra's council in the book: omg your grace it seems Daemon is sleeping with the White Worm, Lady Misery, the Harlot™! 1!1!1

Rhaenyra: Let- ah, Daemon eat wherever he wants and we- oh, shall do the same.

Mysaria under the table: 👍🏼👍🏼👍🏼

[blacknedsoul-blog]

Nevermore is a gothic tragedy. Part I: Classical and Shakespearean Tragedy

This essay assumes that you've read the first season of Nevermore. If you haven't, you'll be eating spoilers.

First of all, a disclaimer: you won't find the term "Gothic tragedy" in theory books, because I just pulled it out of my sleeve. But it seemed appropriate to put it in those terms because, hey, beyond theoretical structuring, genres are also used as a guide to content, and that's kind of what I want to express with this.

Partly because I've noticed that I've called this comic a tragedy on more than one occasion, and talked at length about Lenore and Annabel as gothic characters, but never bothered to delve into these matters, and with the hiatus until (possibly) October, I think it's time to rectify that situation.

But also because I think there are a lot of things in this story that fall into place if you read it under the logic of those genres.

Originally, this was going to be a single essay, but it turns out it took over 2000 fucking words just to explain why it's a fucking tragedy, so I'm going to split this shit in two because I don't want to burn anyone's eyes out.

Tragedy and Types of Tragedy

This is the ridiculously abridged version because this is a really long story, if you want more information on the subject I highly recommend reading Aristotle's Poetics, Nietzsche's The Birth of Tragedy or watching this OSP video for a more proper introduction. If you're interested in Shakespearean tragedy, The Cambridge Shakespeare is a amazing compilation, and here's the essay that talks specifically about what the hell Shakespearean tragedy is.

Tragedy has been linked to the origins of theater as such, found in the festivals dedicated to Dionysus (if you want to know more about the cult of Dionysus, you can watch this video to start), where poetry contests were held, specifically of dithyrambs: lyric compositions dedicated specifically to Dionysus. This later led to the inclusion of an increasingly sophisticated chorus using masks. This was no longer poetry, but the first expressions of theater as we understand it in modern times, at least for Europe and the countries colonized by Europeans.

Nietzsche also points out that tragedy condenses within itself two opposing impulses represented in the gods Apollo and Dionysus, expressed in the terms "Apollonian" and "Dionysian": order, mathematics and music (understood by the Greeks as science) vs. party, debauchery and chaos. The clash between the beautiful and the grotesque (understanding that the "beautiful" can be disturbing and the "grotesque" can be strangely beautiful). This description is not entirely literal, of course, but it must be kept in mind that in order to have the fundamentals of a tragedy, one must have these two elements: order and chaos. A synchronized waltz between the rigid structures and the rupturing.

Yes, those two are enough.

Step by step, I think it is important to point out what are the transversal elements to tragedy - classical or Shakespearean - that are present in the comic.

The first important concept that appears on this page is Amarthia. The tragic mistake, the first domino that topples the whole stack, is the specific event that sets tragedy in motion, and we spectators of tragedy can only stare in horror at the situation, knowing that everything that follows will go terribly wrong.

At least as far as its protagonists are concerned, Annabel and Lenore's Amarthia has been said but not seen: the dinner party where Annabel will wear pearls, indicating to Lenore that she is in on the charade. From then on, every step they take will bring them closer to the fate we know: the arrival of both of them in Nevermore. This story ends with them both dead.

And if I had to point out the Amarthia of the comic's topicality, I would dare to say that this is it:

And this:

Annabel refuses to explain to Lenore why the plan has to be the way it is, while Lenore agrees to be part of it (the fact that she disagrees with the whole situation is a plus).

The interesting thing about this is that the roles are reversed: before, Annabel sealed the tragic fate of both of them by accepting Lenore's proposal, while in Nevermore, Lenore sealed the tragic fate of both of them by accepting Annabel's plan.

Another important term that comes up here is hybris. While it is true that hybris represents ego, this does not necessarily mean that the hero is self-centered in a personality sense; hybris is the tragic hero's (misguided, of course) belief that they can turn their terrible situation around. And, well…

That ends badly in tragedies. Very, very badly.

At this point, it is necessary to start pointing out the elements of each type of tragedy, because something interesting is happening: within the ancient walls of the purgatory that is Nevermore, a classical tragedy is taking place, while in the past, Annabel and Lenore were the protagonists of a Shakespearean tragedy.

Classical Tragedy

One thing to understand about classical tragedy is that these are stories of humanity versus divinity. The predestined fate that comes upon mortals at the hands of beings superior to them, even if those beings do not appear directly. The external forces superior to the characters do not intervene directly (at least not in most cases), but they put all the pieces in place for the tragic hero to fall headlong into his terrible fate "by their own hand". Yeah, that shit is so unfair.

In Nevermore, fate is represented by these two bastards: The Deans act as the ominous shadow of divinity that sets the rules of this battle royale. For all intents and purposes, this pair of bastards represents the tragic fate of the characters: only one will survive to have a second life. And there is (theoretically) no way to escape.

This is where we start to get into thorny issues. If I had to point out the classical tragedy that Nevermore most resembles, I think I'd get a smile out of Hadestown fans: Orpheo and Eurydice.

Okay, let's review: Orpheo is a highly talented musician who, after losing his beloved, goes to the underworld to find her. Hades and Persephone give him a chance to get her back if he doesn't turn around to see her until they leave the place, he does so at the last second, she returns to the underworld, and Orpheus spends the rest of his life in misery mourning her.

That's the thing, the story of Orpheo and Euridice is a tragedy for the most depressing reason of all: love. What seems like a generous gift from Hades and Persephone is actually a condemnation, because they ask Orpheus to do the one thing he could never do: stop looking at his beloved. In some versions of the story, he can't even hear her as they walk; will she really be her, or has he been tricked? Will she be frightened on this journey and he will not be there to comfort her? What if she has trouble on the road or an accident and Orpheus has left her behind? Orpheus loves Eurydice so much that he cannot save her under these circumstances because he cannot stop watching over her long enough to get her out of here.

Now let's go to Annabel and Lenore, the same thing is happening here, these two idiots love each other. It's probably the only thing they know for sure in this bullshit game. And for Annabel and Lenore, to love is to protect, it's to be the shield that will be there to defend their beloved in the face of adversity, she's been hurt in a terrible way and they will do anything to stop anyone from hurting her again.

But tragic fate, represented by the Deans, has set things in motion for this to quickly go to hell:

For Lenore to understand Annabel's actions, she would have to tell her that's why she's so afraid, why they shouldn't get attached to anyone, why she thinks it's necessary to pretend they don't remember each other. But Lenore can't be okay with Annabel carrying everything alone, because she sees how it hurts her, because Annabel is clearly hurting. She goes to great lengths to confide in Annabel, but she can't come up with a plausible explanation for all this crap either.

For Annabel, becoming a villain and enduring all this pain is slightly less horrible than dragging Lenore into the Deans' psychotic game. But Lenore just loves her too much to let her do that. Lenore could protect her if Annabel were by her side, so why does she keep leaving? She was hurt the first time, why do it to her a second time?

The feeling of not being heard, the frustration that the other just won't listen to her pleas and won't stop what she's doing to allow her to be cared for, runs through both of them because it's the exact same situation, "Why won't you let me do this for you?"

The answer is that Annabel and Lenore are asking the other to do the one thing she could never stop doing: stop trying to protect her. That's why they fight.

This relationship has become a power game that neither can win because they are both exactly the same. A tug-of-war that will only be resolved when something breaks. Hopefully not irreparably.

And speaking of the P-word, let's talk Shakespeare, people.

Shakespearean Tragedy

The good Bard took classical tragedy and brought it back, but changed enough elements of it that it had to be renamed because some of its fundamentals were rewritten. The most notorious of these is that while Shakespeare does not ignore the presence of higher forces or supernatural entities, the fundamental basis of Shakespearean tragedy is not the conflict between humanity and the Fates/Gods.

It is power.

Those who wield power, those who are corrupted by it, and those who crave it. These tragedies speak of moral corruption, the victims of power, and those who sink under the responsibility that power brings.

This is the reason why Shakespeare's tragic heroes belong to the nobility, come from opulent families, or hold important positions. In this case, we have as protagonists two women who were born in a cradle of gold: Lenore apparently comes from a family of old money, and while we do not know if Annabel also comes from a family of old money, we do know that there is no shortage of coins around here.

But status cannot protect Shakespeare's protagonists from the society in which they live, whose agency is sometimes literally represented by people with power. This puts them in a situation from which they cannot escape and which screws them from the start (in other cases the Shakespearean protagonist is the figure of power and seals his own fate). Here, the odds are stacked against them from the start because they are women and, as if that were not enough, lesbians.

I think it's no surprise to anyone that the Shakespearean tragedy most similar to Nevermore is Romeo and Juliet.

Let's review: Romeo and Juliet are two young people who meet at a party and fall madly in love. Their families hate each other, so they cannot be together. The two secretly marry, but after an argument Romeo kills a man and is banished, despite a plan hatched by a priest friend so they can run away together, things go terribly wrong and they both end up committing suicide.

This follows a similar logic to Orpheus and Eurydice: the tragedy here is that these two are in love. But where classical tragedy says, "They love each other so much they can't save themselves," Romeo and Juliet, like Annabel and Lenore, works with two layers of conflict.

The first is the social and political. These young people's families hate each other, so they can't be together. In the same way, Annabel and Lenore can't be together because they're both women.

This is also a reference to one of the central themes of Romeo and Juliet: the clash between tradition and modernity. I think if you squint hard enough, you can see the relationship between these two as Victorian conservatism and homophobia screwing up their lives in the same way that tradition screws up Romeo and Juliet's.

The other layer of the problem is the one that has to do with love: Romeo and Juliet love each other so much that they cannot live without each other. This is what drives them both to suicide, even when they are given the opportunity to continue their lives separately. They love each other so much that they cannot live without each other. Just as Annabel and Lenore desperately want to be together, this is what starts the engine of tragedy when circumstances prevent them from doing so.

Another thing it takes from Romeo and Juliet is the role of the parents as a representation of the power that oppresses the characters. In Romeo and Juliet, the Montague and Capulet lords pull the strings of their children's lives, and it is their resentment that creates the barrier between the lovers. In the case of Nevermore, Ira and Thaddeus are the personal jailers of their respective daughters: Ira wants to get Annabel into an arranged marriage by hook or by crook, and Thaddeus first gets Lenore a fiancé and then keeps her locked up in the fucking attic.

Finally, a tragedy that can be read as a reference to Nevermore, though more subtly, is Macbeth.

The plot is simple: a trio of witches tell Duke Macbeth that he and his descendants will one day be kings. This leads him to murder his cousin, King Duncan, and everything goes downhill from there, because Duncan's murder didn't even amuse the prince.

Yes, at first glance it doesn't seem to make much sense, but that's because it's referring to a specific moment. Specifically, the most discussed and controversial scene in the play: the dialog where Lady Macbeth and Macbeth discuss killing Duncan.

This scene has kept the Bard's fans arguing for centuries: is she manipulating her husband so that she can be queen, or is she just verbalizing Macbeth's wishes that he be allowed to commit the crime, and saying that she will support him in it? Impossible to know unless someone gets a working Ouija board.

This is the same logic that follows the flashback scene where Lenore talks to Annabel about the plan. The important thing here is that the comic decides that the answer is: it depends on who you ask.

Given Annabel's attitude toward Lenore, we can interpret that she does not think she was manipulated or anything. Lenore is not a devious woman who put things in her head, it was her knight in shining armor who came to save her from a marriage she didn't want. Yes, she may have had her doubts, but she definitely liked her chances, enough to accept them.

On the other hand, what this tells me is that Lenore thinks the opposite: that she convinced Annabel to be part of this hoax that ended with both of them dead. A crazy woman who dragged the only person she cared about into a dangerous game that cost them their lives, she considers herself as guilty as the perpetrating hand of the crime.

Conclusion

I think the first time I decided to do a review under this particular lens was when I started to notice where Annabel and Lenore's arcs seemed to be going.

On the one hand, given how things are going, it seems that Lenore has to start taking off the blindfold to realize that things aren't as simple as she thinks, and stop letting others make the hard decisions for her because it hurts everyone.

On Annabel's side, you have a character arc that seems to be aimed at being honest with other people, not letting her fears stop her from making risky decisions, and not dealing with all the bullshit herself.

If what I just said leaves a bad taste in your mouth, that's normal. Because it's fucking unfair.

That Lenore should be the one to stand firm - not out of guilt, but out of responsibility - for her actions feels like shit after everything the poor girl has been through. The same thing happens on Annabel's side, that she has to give in to a situation where it makes so much sense for her to shut down, where it makes sense, even without her background, for her to behave that way.

But that sense of injustice is one of the foundations of tragedies. The feeling that, in her situation, it is practically impossible to think that anything different could be done is the basis of catharsis: the pity felt for the character, the fear generated by identifying with their terrible situation.

The expiation of these emotions, which are produced in the spectator by the fall of the tragic hero.

Now, it is interesting to ask how the fall of Annabel and Lenore will be. The simple answer from a tragic point of view is death, a thing we know has already happened once, why not a second time? After all, that's what awaits tragic heroes. Unless you're Medea.

It's impossible to know how the comic will develop, but it seems to me that this is as far as the tragedy goes. For the next part, I want to talk about gothic novels, female vampires, the female writers of the period, and the last gothic. Believe me, buddies, there is no more obsessive romantic bond than that between a Poe protagonist and their dead bride.

[beforethestation]

thanks to the new fia sanctions, I think Stake has a great chance of winning if they plan their strategies well.

and by strategies I mean provoking other drivers to say bad words until all their points and opportunities are taken away.

[aphel1on]

neuvillette's lore is actually insane. we all took one look at him and went "haha dragon🫵" but i significantly underestimated how big of a role he would play. he's the incarnation of the original hydro sovereign. he took back his rule right under the heavenly principles' nose. he's the one handing out hydro visions now (not even because he has to, he doesn't, he just grew so fond of humanity that he chooses to). he gave away the hydro gnosis bc he straight up doesn't need it. he's planning to DETHRONE ALL OF THE ARCHONS (in a few hundred years, when the traveler's not around to see it, so it won't be awkward for them). he's kind and soft-spoken. he's full of vengeful rage. he's a father to hundreds. he found his purpose after feeling lost for 500 years. skirk pulled him aside for a super-secret convo and when he saw us again he immediately spilled the tea. as far as i can tell, he spawned into existence fully formed. no other character can fucking compare

[mazeyphaedra]

HELIO CHOSE HER, BUT SHE CHOSE CASSANDRA.

Traci Brimall, Vive, Vive // Mitski, Goodbye My Danish Sweetheart // Unknown // Katie Maria, God is made of hunger and I am made of dreams // Ally Beardsley, Fantasy High: Sophomore Year // Caravaggio, Judith Beheading Holofernes // @inkskinned, When I’m sad, I write goodbye letters to the people I care about. Once I’ve said goodbye to everyone, I can go. // Ally Beardsley, Fantasy High: Junior Year // Florence & The Machine, Girls Against God // Hozier & Allison Russell, Wildflower and Barley

[hulloitsdani]

Artistic rendering of my reactions to the latest chapter of feh. This game is my little telenovela. I love her so much. I know her writing so well that it surprises me sometimes (I’ve been playing this game for nearly 7 years)

[machrealgirl]

in tmagp who are we betting on having the first "ceaseless watcher, turn your gaze upon this wretched thing" moment. who do we think is gonna be the first to yell some ominous eldritch horror shit

[poisoned-pearls]

YEEEE you always have the correct thoughts I'm interested 🔥🔥🔥🔥

AUAUAUGHHH OKAY SO

Jamil’s voice actor has said himself that even he believes that Jamil and Azul could be close friends- I wanna point this out because that man definitely has some of the best understandings of Jamil EVER because he’s not only seen most of his voice lines, but he also gets the background notes we don’t get to see to add the correct kind of flavor to the voice acting- ANYWAYS

Jamil and Azul DO get along!! very well, in fact! If they are put against a common force or just, generally in an event together they do work well and even joke like close friends would!

Like, even when Jamil is being mean, he’s not malicious. He’s snarky, not actually trying to hurt Azul’s feelings- and they both KNOW how smart the other one is, and both aren’t afraid to mention it

(usually it’s Azul, but Jamil also consistently gives Azul credit as well. He doesn’t ever really downplay Azul’s merits and abilities)

And the funniest bit is- no matter how mean Jamil is to him, even with what some WOULD consider as bullying, Azul does not stop.

Which is WEIRD AS HELL FOR HIM. He was heavily bullied as a kid, so much so that it’s very obviously hinted at that he had/has an eating disorder (he wears the same size as Epel and Riddle, people who are a good ~20 ish cm shorter than he is- this is besides the point-) so to him, the reward of getting Jamil on his side is worth the thing that literally controlled his entire life and caused his overblot. That is how important getting Jamil is to him. (which also begs the question, why Jamil? Sure, some of it is definitely because he sees himself in Jamil, but since this is MY post, I also believe it’s because he has a crush on him.)

And he is CONSTANT about it- it’s almost hilarious how fucking often octavinelle or the lounge or even just himself comes up in his conversations with him.

And sure, it is a little weird that he seems to disregard Jamil’s constant no’s- BUT he also understands and watches Jamil more than anyone else, so I think he does this precisely because he knows that Jamil holds himself back.

Jamil can’t reasonably Say yes to him, because of kalim and his duties, but it’s the same thing with Jamil’s lab vignette, he so desperately wants Jamil to do his best, to succeed, but because Jamil will not let himself, he pushes and pushes to try and get him to fold and do what he really wants. To flourish. And Azul wants him to do it with him.

and the reason why Jamil is always so resistant to it isn’t because he genuinely wants nothing to do with it, it’s because he cannot understand or comprehend a relationship like that where they are equal.

He doesn’t want to be under Azul’s thumb, but this is exactly where their animosity comes from- the misunderstanding of their friendship and the dynamics with it. He doesn’t want to go to octavinelle, to work at the lounge, because he despises being a servant.

But master and servant is the only real dynamic he knows- he legitimately can’t understand how it would be any different, and because of Azul’s reputation and persona, he wouldn’t trust Azul’s word on it either.

(It is also very ironic that Azul’s persona, which was made to protect him from bullying, is the exact reason Jamil is so hostile towards him in the first place)

But here’s the thing- consistently, Jamil always makes note of Azul. He pays attention to him, (‘you sure love your cryptic little asides’ means that he’s actually paying attention to Azul to notice said asides and notice the frequency of them-) and he acknowledges him first.

I cannot stress enough how fucking insane it is that he not only acknowledges Azul first, but by full name. He is in basketball club with Floyd, he should know him well enough to say him by name, and hypothetically be more friendly with. Floyd is genuinely the safest person in octavinelle for him to hang out with precisely because he doesn’t scheme, so why in the world is he acknowledging Azul?? He’s already fucking suspicious of him and wants him off his back, so why not go for what should be his safest in?? Sure, it makes sense for him to actually talk to Azul because, classmates, but to completely disregard Floyd and put Azul first? Azul stands in the middle of them no matter what reading direction would be normal for Jamil (like if he speaks Arabic then it would be right to left/) it wouldn’t make sense to point out the one in the middle. Genuinely when people say hello to a group they know usually they go by name in reading order-

Okay genuinely not being insane about one moment in dialogue for a moment

Jamil and Azul, work so, so fucking well. They are just similar enough while also being opposites in the most complimentary way it’s crazy.

They work well as friends and as business partners and as people fighting together and as a couple, they flow together and it is always in my brain

Because all it takes is for Jamil to realize that Azul is not lying. He is not trying to trick him or butter him up he means every single word of praise he says and he will continue to say it because to him Jamil is worth the pain. THAT is why they’re soulmates to me

Because all Jamil has ever wanted was freedom, and to catch a break. To not be the one serving, but to have someone serve him, to understand him. and Azul does. Azul wants to serve him and to hold him on equal footing and he already DOES understand him

(And he understands Azul, as well, even if he doesn’t admit it. In all of those lines he notices things about Azul you wouldn’t if you actually hated someone. Azul gives him a sense of hope, in a subtle way)

[somewhereincairparavel]

TFOTA update (major spoilers for book 1): chapter 20

this book just keeps throwing plot twist after plot twist after plot twist on me and I'm falling for every.single.one. gosh. first jude kidnaps the human girl to free her into the mortal world, and she drowns herself? Then Dain yells at Jude for the thing I WASN'T expecting (stabbing Valerian) and then Jude fucking KILLS Valerian not even a few minutes later, then buried the body in HER house, then Balekin gatecrashes and slaughters almost everyone in his fucking blood line in the matter of MINUTES. Madoc kills Dain?? And ghost kills Caelia?? Rhyia kills herself?? Taryn and Locke might secretly have an affair??

Jude feels pleasure in seeing Cardan miss out on the coronation bc he got drunk which is ironically the best thing he did bc he dodged a bullet?? Now Cardan is the only hope elfhame has, which is also super ironic since Jude was marvelling over how glad she was that cardan wasn't ever going to be king in the first few chapters.

I NEED A MOMENT TO TAKE ALL THIS IN

[morningstargirl666]

what do you think about Hayley?

I think she was made as a plot device, not a person, and therefore has no real character.

I mean, when she was first introduced, she had a good premise---we learn she grew up with foster parents, and when she turned for the first time, they kicked her out. I think that's a really neat insight into the werewolf world they should have explored a whole lot more. If she's in her early/mid-twenties does that mean she's been turning since she was a teenager? Is she an experienced werewolf, having been running with other packs ever since she was kicked out? What happened when she was kicked out? Was she homeless for a while, forced to hitchhike and live on the streets, thinking herself a monster until she realised there were more people like her? How did she find that out? Did she bump into a werewolf in a bar? Was there a werewolf that took her under his/her wing, taught her everything she knew? Did she find her own family, even though they shared no blood?

The problem is, TVDU has a horrible habit of creating female characters for a specific purpose, and not expanding on them otherwise. Hayley was supposed to be likeable because they intended to air TO and Plec wanted the baby plotline. She wasn't a homewrecker, because Tyler wasn't actually cheating on Caroline with her, see? It's just a ploy to distract Klaus! Hayley's actually trying to help the hybrids out of the good of her heart!

Yeah, well, that's all good and dandy, but Julie---[takes a huge breath]---my darling, you forgot you made Hayley a decietful bitch who betrays the hybrids to Klaus just for the promise of information on her parents. Which, don't get me wrong---I think the twist made her character all the more interesting. It would have been better if her alliance with Shane was revealed later and came as more of a shock. But again, Hayley was a plot device, and the writers were using her for all the wrong reasons, reaching their crescendo of mysognistic bad decisions when they had her get pregnant with Klaus' child and later, forced her own plotline with the NOLA werewolves just to give her something to do rather than just be Klaus' shacked up momma.

Like all the characters in TVDU, she had great potential, especially as a morally grey character or antagonist.

But as always, the execution was shite.

[mifunebooty]

Bitch, why does Robert Mitchum look so fine in Pursued 1947?

[norringtondeservestheworld]

No one: Not a single soul: Me: remember when at the beggining of Endless Summer Aleister was introduced as a side character with the stereotype of the snobby and always annoyed guy and he ended up being one of the most important characters of the story with an insane arc and most of the plot twists involved him the writers were so wild for this

[doliminuz]

I'm surprised no ones written a fic abt Jay being hit with venomari venom instead of Kai