#it's like people forget that this series is not based entirely around fight scenes... those are just occasional...

[vulpinesaint]

bitches will watch a whole show about a man trying his very fucking hardest to avoid violence as the first option and save people and protect people and watch his struggle to be a good person by not falling back on the tactics of violence that he was taught and that the world keeps trying to hammer into him and the fact that he only fights and kills when he has exhausted all other options or when his immense efforts to talk through things and compromise and work for diplomacy have failed and go 'haha he goes hmmm all the time! he never talks!' come ON now. every motherfucker in the witcher meets geralt of rivia and they go "pleeeeeeaaaassseeee geralt of rivia be a stoic violent man and go kill this thing for me so that i can avoid my problems" and then without fail geralt sighs really hard and LAUNCHES into a paragraph-long speech on what he thinks the correct moral situation is that NOBODY in that situation wants to hear except him. BE SO FUCKING REAL WITH ME THE PROBLEM IS THAT HE TALKS TOO MUCH!!!!!!

listen i am geralt of rivia hater number one but one thing i actually CANNOT stand is when the fandom mischaracterizes him. took one look at this man who speaks very straight-forwardly and matter-of-fact and is a little recalcitrant with his words sometimes and went "haha he communicates in grunts! man who only says 'hm'!" and then won't even write him to speak in full fucking sentences. hello???? hello???????? yes the netflix show was a bad influence on everybody because they were trying too hard to depict geralt as a stoic manly badass but we CANNOT let that distract us from the REAL thing to make fun of geralt for. which are his Constant Unprovoked Monologues

[flemingsfreckles]

How do you come up with ideas for your plots/ work your way through the stories? Do you have a process?

Short Answer: My ideas are just sort of whatever pops into my head, some is inspired by real life, some isn’t. As far as how I write them, I don’t have a process that I follow every time I write, it’s very chaotic and just based on vibes and what I’m feeling most of the time.

Long Answer:

My ideas, a lot of them come randomly into my head, either at work, in the car, in the middle of the night when I wake up and can’t sleep, or like when I’m doing other things. Half of the ideas I have I forget before I can write them down. Some of it is based off of things that happen in my real life but a fair amount isn’t based off of anything specific. I also get requests in my inbox that I’ll use as entire fics or as portions of a fic. Often if I try to sit and write and come up with plots I’ll come up with nothing.

A lot of the time my fics are based off of one sentence/paragraph that I want to write and I’ll build a whole fic around it just so I can write a single scene 😅

I also don’t write my fics linearly/in order. I’ll write the end, then write a couple sentences in the middle, then jump back to the end, then go to the beginning, then back to the middle.

As far as where the story goes, it depends. Things like Replacement and Physios Daughter I had a general idea/outline of where I plan to take the story beginning to end before I started writing it. PD I didn’t write out an outline and just kind of did it on vibes but I did know in my head I wanted them to go to the Olympics, end up together, have to be sneaking around, etc.

if I do actually write them out they are usually incredibly vague [Replacement Example: Ch1: intro, Jessie arrives Ch2: first game, hits they like each other,Ch 3: team bonding? Another game 4: after training fight? 5: start together, tackled, Jessie stands up for her 6: more post practice training, 7; Janine’s wedding (kiss)] obviously this is not exactly what I followed as far as writing replacement but it helps me have a general idea of where I’m going. I add in little side plot points and tidbits to make the fics longer as I want to or I see fit.

With fics like Drunk Dial or Better Boyfriend, those I didn’t plan to be multipart series, it was just based off of people asking for more so those had no plan and were entirely spur of the moment what I wanted to do with the plot.

A lot of it also depends on feedback I get. Even with a fic I planned to be multiple parts like PD, I didn’t expect it to ever be nearly as long as it was, but people liked it and kept asking for more so I was happy to write it.

[slowdripsunrise]

jfc okay so i have forgotten/been too lazy to write up reveiws here i apparently havent updated since. lone women which is well. so ive read a shit ton since then so i'm going try my best to write up as much as i can in this post bc i don't want to just. stop and skip over stuff. so well. here we go. spoilers for various books under the cut, i'll tag them all !

first book i finished after i last updated was silver nitrate by silvia moreno-garcia. been a while but damn do i remember the fucking vibes. absolutely killer vibes and atmosphere, and the plot was fun and interesting; i do remember being a bit confused in one of the final scenes fighting the guy but it wasnt enough to take me out of the story. the characters felt real and i could feel their love of movies and maybe each other off the page, definitely recommend if you're looking for an atmospheric, creepy little book.

next (and i'll just group these together) i read the poppy war trilogy by r. f. kuang ! absolutely wonderful storytelling and the characters were interesting and loveable. i think that this story succeeds in being one of the few good "war stories" as in it doesn't glorify or make light of any aspects of the war. there are good moments and bright spots throughout, but in the end pretty much every single character we know and love ends up dead, and before they're dead, they've been shaped so thoroughly by the war around them that there is no way anyone could have come out of this series thinking that it in any way romanticized the events. i loved everything about it and more. but while i did love the series. tbh i don't agree with everyone saying that its the most serious and intellectual and groundbreaking book in the entire world. yes it is groundbreaking and yes it is based on a lot of real life horrific events, but it's also. extremely entertaining. it's written beautifully and has some very poignant scenes that i love, and i am gonna be honest i lost where i was going with this point. i think what i'm trying to say is like before i read it, i saw a lot of people on the internet saying that it is like. the highest peak of literature and such and like. for me, it's mostly just a damn good time. i go into most books looking for entertainment (meaning like. i would like to feel emotions, not necessarily happy ones, just emotions in general) and what i think a lot of people made it seem like, was ONLY an epic tome about the brutality of war, the military, and colonization. and it absolutely is about that ! i am not docking points for it being about those things, in fact if it hadn't had all these hard hitting topics i wouldn't have liked it as much. but it's ALSO about rin, kitay, and nezha, and how they love and hate each other. and sometimes i think people lean too much into one aspect of the book, one way or the other (i have absolutely seen the inverse of this, people forgetting about the colonialism and militarization aspects in an impressive show of hypocrisy. which... is worse imo.) but idk. i have no idea what i am trying to say i just like this book yall.

next oml. okay again grouping them together for my own sake but i read the southern reach trilogy by jeff vandermeer ! this series was such a creepy and weird and offputting good time i ate that shit right up. the first book and the biologists pov are my favorites, and all of the insight we get from her and the first book into area x was just. so compelling i could not put that shit down. i'm pretty sure the second i finished in the hospital lol i was INVESTED. and honestly. i did really like the second book. not as much as the first, but i don't think it was bad or underwhelming compared to the first. once i got past the pov shift, i really liked controls pov partly because he is just some guy. like he is just so average and banal, and seeing this set against the absurdity of the rest of the book was really interesting. i liked how even though we weren't IN area x, the southern reach still had that otherworldly and offputting suspenseful energy, even in a familiar setting (office building type i mean. as opposed to weird as fuck forest). that and also i am deep into my f1 phase so like i kept picturing control as checo perez. like hes just so guy to me like hes just a normal guy that has no fucking clue whats going on and thats really funny and awesome to me. like man. anyway the third wasnt my favorite, but i still really like the series as a whole and will probably read the 4th one coming out whenever it does.

NEXT. sharks in the time of saviors by kawai strong washburn. did i cry. maybe. did i really like the story. yes. it was definitely a change of pace for me after reading the above books but the story was lovely and magical and engaging and very sad and i enjoyed every bit of it.

after that i read scattered all over the earth by yōko tawada, which is a story that i kinda have mixed feelings about? i listened to the audio book and the narrator did such a wonderful job, i loved listening to the two man characters talk about language in the mc's made up language, panska. and if the book was just about that, i probably would have liked it more, exploring language and the loss of it; however one of the side characters constantly get's misgenders when the story is outside of her pov. and it's like. really fucking distracting. so like i guess i don't have very mixed feelings about it lol. i liked one bit, definitely did not like another bit, and the rest of the book wasn't really strong enough to sway me back into the "i like this book and think it's interesting" camp. although if you can get past the blatant transphobia, the audio book really is nice to listen to, especially coming off a post surgery high.

next i read the ghost bride by yangsze choo ! this was another really atmospheric, palpable book. i could feel the setting, the humidity, the smells, all of it and it was so good! an engaging story, i'm pretty sure i read this one in a day or two. the characters were fun, the plot moved quickly in a way that made sense, and exploring the realms of the dead and the living with the characters was so fun, definitely recommend !

im gonna wrap this post up here mostly bc im hungry but i still have a lot more to update on ! if u made it this far thank you and also im sorry. happy reading!

[arcticdementor]

On my "REAL Banned Book List", unlike Barnes and Noble's fake "banned" book tables, works of fiction very rarely appears.  School teachers might want children to believe short simple books readable by adolescents are "Banned" because Oooo👻 forbidden fruit, don't read the age appropriate short fiction the school librarian tells you to".. But in reality 95+% of real banned books are non-fiction political tracts, censored histories, or terrorist manuals. And the fiction books that are banned are usually fictionalized versions of those, works like "Camp of the Saints", or "The Turner Diaries", despite their ability to move people emotionally are not banned for their emotional content but for their political content (and in the case of "The Turner Diaries" its accurate instructions on bomb making)Subscribe HOWEVER! There is one series that was driven from bookstores, and by the late 90s was almost totally disappeared based purely on the... "feelings"... it generated in its readers. A fantasy series set entirely on another world with more or less nothing to say about politics back on earth, awakened... stirrings... in its readers so disturbing to the powers that be it had to be stopped.

…

The Chronicles of GOR by John Norman (Pen-name of Philosophy Professor John Lange) Begun in 1966 and continuing to... today (he's 92), the 38 book series is a Pulp Science Fantasy series in the vein of Edgar Rice Burroughs' "Barsoom" series (shout out to John Carter of Postcards From Barsoom ) It has a lot of neat fantasy/historical/military hypotheticals to get the young male mind going "what if Vikings raided Japanese samurai cities with flying monsters?" but the thing that outraged the feminists and what they'd never admit enraged them, was its effect on female readers.

…

This is the world and theory of mind Norman paints with a philosopher's attention to completeness... 38 books deconstructing and undoing not only modern feminist ideas of equality, but Christian ideas of the equality of the soul and nobility of the feminine spirit. By any standard maybe the most sexist misogynistic books ever written, not out of ignorance or resentment but a philosopher's indifference to any social or ethical preening that might impede the truth... And women freaking loved it.

…

Consummately refusing to acknowledge or accept that Norman's audience ws well beyond 50% female (men read it for the war and there's tons of books on that) feminists starts campaigns insisting that Norman's audience was entirely male abusers and misogynists, and naive young impressionable boys who needed to be taught not to rape, but were being taught the opposite. Of course Norman had merely written the type of violently sexual romances that had been staples of harlequin romances and women's lit had been romanticizing for decades if not centuries... on paper he'd just made the war scenes more realistic and engaging aside from the fantasy fortresses and rideable giant birds. But he did something 30s romance writers like Margaret Mitchell, and now tens of thousands of romance, erotica, and fanfic authors never did in all their sexy violent stories... Something the feminists could never forgive him for. Sandwiched between the fighting and the fornication, he explained with a philosopher's exactness, WHY those stories are sexy. Amidst the pulp adventures and wars on an alien world, and the sexy slavery, Norman lays out a comprehensive theory of human sexuality utterly incompatible with feminism, "Democracy", equality, and possibly even Christian civilization. He summoned the primordial lusts and hungers from the cruel ages of humanity into the hearts and souls of his readers, and he told them their names such that they could never forget them, nor look upon the egalitarian world world around them with anything but boredom and disdain. In short: It's pretty hot.

[itsclydebitches]

Thinking back to the earlier volumes, isn't it weird that Ozpin either 1) didn't notice Jaune faked his transcripts (imagine if he was a Salem agent) or 2) decided to just trust this kid with fake transcripts when he is so paranoid that not even his inner circle has his complete trust?

I've always worked under the assumption that he had to have known. Even just ignoring the unlikely event that Jaune managed to secure transcripts that were that persuasive and Ozpin never followed up with/realized that Jaune didn't attend a previous school as he claimed (the huntsmen world seems to be a small one, increasing the likelihood of Ozpin hearing about potential new students, and Jaune couldn't have passed the test Blake, Ren, and Nora did for those students with unconventional educations prior to Beacon), he also just acts like he knows and is keeping it quiet. Ozpin is not at all surprised by Jaune's lack of knowledge regarding landing strategies, or his genuine fear about the initiation. Some like Ruby may be nervous about teams, but no one else is scared because to a Beacon level huntsmen there's nothing to be scared of - this stuff is easy-peasy. A guy asks for a parachute to safely land? That would have immediately tipped Ozpin off if he didn't already know. Plus, the person in these scenes who does pick up on these discrepancies, Glynda, is the one Ozpin ignores. "Oh, you think Mr. Arc isn't ready for Beacon? Haha, no reason to address that little observation..."

He had to have known, so the real question is why he'd allow this. You're right that it was a security risk, but it appears far riskier in a post-Fall story. Yes, of course Ozpin always knew about the threat Salem posed even if the audience did not, but the Fall wasn't just a shock to us and the other characters. I think people forget that it was absolutely a shock to Ozpin too. As far as he was aware, things were going swimmingly. It's that wonderful time of peace! Yeah, he starts hearing reports of enemy movements around the same time that Jaune was allowed in (meaning that any worry wouldn't have started until he'd already taken a risk on Jaune), but no one could have predicted that within a few months the entire school would be overrun with grimm. Meanwhile, telling people about Salem has been a known risk for at least several lifetimes. Letting Jaune into the school without credentials is only perceived as such a big risk after we've watched Cinder pull that exact stunt: sneaking into Beacon as a student and helping to destroy it from within. But, given the knowledge everyone had in Volumes 1-3, it doesn't surprise me that Ozpin would see one action as a STAGGERINGLY bigger risk than the other. He doesn't tell his inner circle about Salem because every time he tells people about Salem they drop the fight, betray him to her, or fall into such despair that they're functionally no longer allies - as the group beautifully demonstrated when the secrets came to light. Jaune is just... taking a chance on a kid with potential. One is a proven risk within a war that impacts all of Remnant; the other is only at that same level of risk if Ozpin were truly paranoid and spiraling when it came to imagining the worst possible scenario for every situation. What if this bumbling kid is secretly an intelligent spy sent to undermine my school from within, despite every possible proof to the contrary?

But it's details like this that make me roll my eyes so hard at the "Ozpin doesn't trust anyone" rhetoric of both the show and the fandom. Not trusting everyone with everything - because different people are more likely to be trustworthy or not; different pieces of information have the ability to do more damage than others - is not the same thing as not trusting, period. Ozpin, like Ironwood, has never been paranoid. Everything he fears is true, proven again and again across multiple lifetimes. It's not paranoia when people are literally betraying you left and right. Yet despite this, Ozpin extends a shocking amount of trust. It's as you say, he does let this unknown kid try his hand at being a huntsmen. He lets a former White Fang member into Jaune's class, allowing her to hide her status as a faunus the whole while, outright telling her that she can keep her secrets until she's ready to share them. He previously allowed two bandits into his school - who later revealed they'd come with the explicit purpose of learning how to murder huntsmen!! - and despite being betrayed by one he still keeps her brother as his second in command. He trusted his inner circle with everything but the secret that has screwed him over time and time again. He trusted a bunch of nobody students when they randomly showed up at his safehouse, demanding to be a part of this battle. He trusted them again despite the horrific way they put his trauma on full display. And then hit him. Screamed at him. Ignored him for months on end. He trusts them so much that when four of them came back with Emerald he didn't even question it. This 14yo boy I'm inhabiting wants to risk everything by "trusting love" in the woman who, just a few hours ago, was trying to help Cinder murder our Maiden? Lol yeah sure, why not.

Ozpin extends an extraordinary amount of trust given his circumstances. That's canon to my mind. What's ridiculous is that the comparatively few times he's held back have been blown into this inaccurate image of him being paranoid, or so manipulative that he refuses to allow anyone else agency through information. But Ozpin trusting others 99% of the time is the part of the story that has always made sense. Trusting others with caution during such a dangerous war is not - and should not - be criticized for this extent, especially when the other option presented is pure foolishness. Which, frankly, is where I think Oscar is at, surviving his blind faith in someone like Hazel purely because the plot bends to accommodate that. It also remains a strange theme in the face of Ruby's current characterization. Ozpin, according to the show, is flawed because he didn't trust love... yet this is the same volume when Ruby tells all of Remnant that Ironwood can't be trusted. No explanation, no attempt to reach out, just a black and white dismissal that he is an enemy now, full stop. And we can't even contextualize that with, "Well, Ironwood is too far gone to ever trust again. There are some cases where love just isn't enough" when we redeemed both Emerald and Hazel within episodes of each other. The PTSD riddled former-ally doing horrific things in the name of saving at least some of his kingdom is too far gone, but the guy who murdered the majority of Mistral's huntsmen, works directly for Salem, and has spent his two major appearances trying to kill/torture a kid is not? Yeeeaahh. That's really absurd to my mind. At the end of the day, RWBY's themes of trust are just fundamentally flawed. There is no solid foundation to work from and no continuity across the series, let alone across different characters. Ozpin trusted Jaune, but is said to be too untrusting because the show is basing "trust" on whichever characters it likes most in a given moment. It is, again, why we get a "Ruby will save the day because she's so trusting. More trusting than Ozpin ever was" while she is, in that exact moment, keeping these secrets from Ironwood. Or themes of Ruby uniting the world... while she explicitly says, "But not that guy." Any compelling story about trust we might have gotten died the day the group stole everything from Ozpin, punished him for things outside of his control, cut him out of their lives until the plot forced them to work together again, and the story never once went, "Hmm. Maybe our supposedly trusting, forgiving heroes shouldn't have done all that."

[oceanera12]

Sylvie should not have been a Loki-Variant, Change my Mind

Soo...

I have some problems with the Loki series.

Don't get me wrong, it's a fun show to watch and I enjoyed it (for the most part) but there is one specific thing that I have a major problem with:

And it's how they decided to portray/use Sylvie.

Because LET ME TELL YOU-- She should not be a Loki-variant. Heck, her character isn't even BASED on Loki.

Sylvie is based on this gal right here, The Enchantress (who is usually named Amora, but there is also another version of her running around whose name is-- wait for it-- Sylvie Lushton)

Heck, Sylvie even "enchants" people, which is what "The Enchantress" is kind of known for. Sylvie is very serious in the show, with no "joking" or "mischievous" side, and yes you could make the argument that she's had that stomped out of her because SURVIVAL. But I'll raise you a "Loki makes jokes/messes with his opponents when he's defeated or taken prisoner by literally everyone." And Yes, I know they made her different because of the Character dynamic but it's one of those things that I don't think she should have been a Loki variant. At all.

Now, me being me, this was something that bugged me so tremendously, I tried to figure out how I would have personally introduced/changed Sylvie into something a little more... well, not a Loki variant.

Here's what I came up with:

Let's start with the show setup: it would basically go the same with Loki getting taken by the TVA, recruited to fight a variant Loki, figure out where the Variant is hiding, etc, etc.

We'd still have the whole "hood reveal-- GASP, A WOMAN"

But said woman doesn't just run away without a word. Instead, she holds out a hand and says something along the lines of "if you want to live, then come with me."

Loki being, well, Loki, is extremely curious and goes along with her.

The episode would end with Loki asking who she is, and she gives him this surprised look. "Sylvie."

Loki: ... *confused look* "I thought you were a Loki-variant."

Sylvie: *also confused* "...Do you really not remember me?"

The episode ends with the two staring at one another then cuts to credits.

The next episode is different from the rest of the series because it is a flashback episode to Loki's childhood. Without going too crazy on the details, Loki had a childhood friend named Sylvie. The two of them bonded over having magical abilities and would get into trouble together. They'd go places they were not supposed to go and such. One day they went to such a place and something bad happens. I'm thinking giant monster attack or something similar. Loki and Sylvie get into big trouble and Sylvie gets into a difficult position and she screams for help.

Then there is this moment where we have a timeline split with the following two scenarios:

In the first scenario, Loki leaves Sylvie behind and saves himself (this is Loki's timeline). A few days later, the Asgardians pulled Sylvie's dead body out of the place they were not supposed to be. Loki never comes forward about how he left her and everyone just assumes that Sylvie got herself killed by going into the forbidden place alone. Young Loki feels guilty about leaving Sylvie to die, but he forces himself to forget about her and convinces himself that if he hadn't left her, then he would have died (this is kind of the start of Loki leaving people/betraying people who are his friends and family.)

In the second scenario, Loki hesitates but ends up going to help Sylvie. Both of them make it out of the dangerous area alive, but Loki is badly injured and ends up dying from his wounds shortly after they escape. Sylvie takes his body back to Asgard, basically knowing that it's her fault he's dead and she is going to be punished for it. However, Odin and Freya both see Loki's death as a heroic one, as he went back to protect his friend, despite the fact that both of them were not supposed to be in that area. In other words, Loki died a warrior's death and will be received into Valhalla, which is a comfort to them both. Sylvie (who I forgot to mention is another orphan that was just being raised in the Asgardian equivalent of an orphanage) is not exactly "adopted", but she is taken in by Odin and Freya, to honor their son's sacrifice. In turn, Sylvie takes on the name "Loki" as a second name to honor her friend. It is perhaps a year or so after this event, the TVA shows up and wipes out the timeline (I justify this because if Sylvie in the show is not supposed to be a girl and that's her "crime against the timeline" then she should have been taken by the TVA when she was born). Since Sylvie has taken on Loki's name, she is technically a "Loki" variant, which explains the whole "Loki variant" is behind all of the disturbances.

Now, I would personally play this Sylvie with a different personality. So Sylvie in this version is less in the REVENGE route and more in the SURVIVAL state of mind. Her entire goal is to survive. And if that means taking out the TVA to do that, then so be it. She's been planning this for years and everything was going according to plan, but then the TVA brought in a variant Loki.

Now, Sylvie knows that this Loki isn't HER Loki. But she doesn't know what Loki did to her in the normal timestream. She thinks that maybe she was strong enough to get both of them out or maybe Loki and her managed to both escape. In her mind, Loki is her friend and basically the closest thing she ever had to family. So even if this Loki isn't her Loki, she's going to try and help him survive.

Sylvie explains all of this to Loki, who is now feeling a tad guilty about leaving his Sylvie to die, but also feels a bit justified since he clearly would have died if he had gone back for her. Loki being Loki lies to Sylvie about what happened to her, basically painting a tale where Sylvie died the heroes death in his world, and the name had caught him off guard since his Sylvie was dead and he did not know how she would look grown up.

The show continues on, the main focus on Loki and Sylvie's relationship being more friendly on Sylvie's part, with Loki slowly feeling more and more guilty about lying to Sylvie. Especially when this Sylvie basically swears to him that she is not going to watch another Loki die.

Sylvie is very determined and focused, like she is in the show. She is still distrustful of people, EXCEPT for Loki (my reasoning behind this is even though he's the God of Mischief and such, Loki promised Sylvie when they were little that he would never lie to her. And that was a promise Loki had kept... until meeting Variant Sylvie).

Meanwhile, Loki has the internal conflict over him basically killing his own Sylvie, especially as he grows to really like the very-much-alive Sylvie. Here is all the flirty scenes and such. Loki probably decides at some point that he is going to try and make it up what he did to his Sylvie, by deciding to keep this Sylvie safe and happy.

Most of the show continues on pretty much the same, with the big climactic fight at the end except for one difference:

Kang the Conquerer or whoever the kriff that guy was, reveals to Sylvie what happens to her in literally every. Single. Timeline. Except hers.

So that Sylvie vs Loki fight in the show, is now a legitimate Sylvie vs. Loki fight. Loki, at this point, was probably planning on telling her the truth, but creepy not-the-watcher-but-kind-of-the-watcher dude beat him to it.

Loki tries to apologize to her, convince her it's a bad idea to kill this guy, and all that stuff, but it's too little too late. She decides to spare him, out of respect for her Loki but basically tells him that if he ever shows his face to her again, she will kill him. Then she shoves Loki through the portal, kills the creepy dude, and proceeds to drop to her knees and sob because the one person in the world that she thought would have her back, did not.

Now, Loki is determined to keep his promise he made to himself about keeping this Sylvie safe and happy, even if that means she is going to kill him if he returns and that is his mindset going into Season 2.

And that's all I've got at the moment since Season 2 hasn't come out yet. I shared this with my Padawan and my boyfriend and both were extremely interested in it so I thought I'd share it on here.

((Also, now I don't feel weird about shipping these two because I'M SORRY shipping a variant of the same person is just... weird. I can't do it without feeling weird, okay???))

[joheun-saram]

promise - 1 (knj)

Chapter 1: New Year’s Eve

masterlist | next

Summary- It’s NYE and you can’t wait to bring in 2017 surrounded by your friends, but there’s a new cute boy around. You’re intrigued but quickly find out there is it’s no good being cute when he’s literally the most infuriating person you’ve met.

word count- 3.1k

pairing- asshole!Namjoon x Reader (alternatively, edgelord!Namjoon)

rating- PG15

genre- collegeau, roommatesau, enemies2lovers, slow burn, this chapter is platonic fluff(and angst I guess), future angst, fluff and smut

warnings- alcohol consumption, marijuana consumption, Namjoon being an absolute ass, he’s against socialism for a hot second (to rile her up, our Joonie is still woke tho nw), mention of sex, Jungkook’s parents based on my actual best friend’s parents (shoutout to their amazing jello shots!)

a.n- Well, well, well... if it isn’t my simp ass writing another Namjoon series. Love that about me. Get ready for some slow burn and a lot of Namjoon just being annoying! 🥴This is a drabbleish series so most parts will be about 2-3k.

Thanks for the beautiful @ditttiii​ for beta reading and to @aroseforyoongi​ for helping me with the political argument (also for dubbing this Namjoon edgelord!joon 🤣)

As always feedback appreciated, a reblog and a like goes a far way. Send me an ask! 💌

taglist- @namyoongles​ @cheesecakes-randomshitz​ 

Send me an ask to be on the taglist!

-

You were running late. Very late.  With a sigh you watched the street pass you by in a blur, the distant roar of your bus dimmed by the rap music that blasted through your ears. You looked at the group chat to be bombarded by messages.

Jungkook: bro istg if you’re not here in the next ten minutes

Hoseok: HURRY UP! JK IS DOING SHOTS WITH HIS DAD OMFG

Jimin: OMG Y/N. WE’RE GETTING DRUNK WITHOUT YOU

Jungkook: adsdsd duddde u suk wdt syop taling foevr

Yoongi: I’m gonna drink all the whiskey I got from Korea this week if you don’t get your butt over here.

Yoongi: Jieun says hi btw!

The texts continued to devolve into nonsense as you willed the bus to move faster. You were annoyed. Jungkook had planned the new year’s party at his parent’s house, and you were beyond excited to party, having spent the entire winter break stuck at home with your parents as they argued over the smallest things. You tightened your grip around your duffle bag as the bus came to a stop. Trudging through the snow you finally reached the familiar red door of your best friend’s house.

You knocked, taking in the large three-storey suburban house as you waited to be let in, already digging through your backpack for the bottle of tequila you had brought along. If they took any more time to open the door, you were going to start drinking right there on the porch. Before you could uncap your bottle, you were greeted by Jungkook’s dad, the familiar, jolly older man moved his hair out of his eyes as he greeted you.

However, before you could finally get out of the cold, he stopped you, presenting a tray of colourful jello shots.

“Y/N! Penalty for being late. You have to take a shot!” He laughed as you sputtered, his face reddened by what you assumed was alcohol. You had known Jungkook since the two of you were freshmen in university and had routinely stayed with him and his parents during break, but you had never seen Mr. Jeon this drunk. You stood awkwardly, not knowing what to do as he insisted, your friend finally joining him and encouraging you as you tentatively took a shot.

“I changed my mind! One of every colour!” Mr Jeon exclaimed joyously as Jungkook groaned.

“Dad! It’s cold. Let her in!” He whined and thankfully, you were let in. Taking off your shoes and leaving your bag by the door, you ventured into the living room where you saw all your friends. Hoseok leaned where he sat on the couch, his face buried in his phone as he, no doubt, texted his hookup. Jimin danced next to the Christmas tree the Jeons had yet to put away with a glass of liquor as Yoongi played the piano in the corner, cuddling with his girlfriend Jieun. Bubbling warmth swelled your heart as you saw all your favourite people.

“Come on let’s get you a drink!” Jungkook put his arm around you, planting most of his weight on you due to the alcohol raging through his veins as he guided you to the kitchen through the living room. In the kitchen, you were met by the sight of his parents swaying together to Yoongi’s expert piano skills, and a man you didn’t recognize sitting at the breakfast island, talking to Jungkook’s younger sister animatedly, who seemed to be trying to leave the conversation.

Jungkook poured you a rum and coke, easy on the coke, as he made his way to the breakfast bar. You stood next to his sister, making small talk before she excused herself to go to her room. She never stuck around long during these get-togethers. 

When she left, you were left standing awkwardly next to the only stranger at this party. The first thing you noticed was that he was tall. Much taller than all your friends, his dark black hair styled away from his face, a strand falling on his forehead shaped like a comma. He was dressed much like everyone else in dark wash jeans and a navy t-shirt with white leaves outlined on the sleeves, except his jeans fit him almost too perfectly, sculpting his thick thighs. Although he seemed friendly, greeting you with a pretty dimpled smile, your sudden attraction to him made you nervous.

“Hi. I’m Namjoon,” he said, eyeing you from over his cup as he sipped whatever concoction he was drinking.

“Oh shit! I keep forgetting you guys have never met!” Jungkook slurred as he sidled up to the two of you with his stool, leaving you standing between the two sitting boys. “Namjoon and I have been friends for years. I think we probably met the same time you and I did, but I guess we never ended up meeting together?” He ended his statement as a question, and it surprised you. You thought in three years you would have met all of his friends. 

“Well, that and I took a break from school. I was doing an internship in California.” He beamed, clearly proud of his achievement. “I worked at Twitch, you know them?” He smirked, and you had to fight your urge to roll your eyes. Of course, he worked in Cali. You went to a university renowned for its engineering degree and it was the goal of every software engineering student to land an internship in California. Those lucky enough to achieve it used it as social currency and bragging rights. You despise those people. It wasn’t that you weren’t smart enough to land that opportunity, in fact, you were coming off of your internship with Facebook last term, but you always felt flaunting a job to be such an ugly trait. However, Namjoon was Jungkook’s friend and so you let it slide.

“Ah Twitch. Very cool.” you hummed as you drank.

“Yeah. What program are you in?” He asked, continuing the conversation as Jungkook disappeared to talk to his parents, trying to convince them to retire for the night since they had embarrassed him enough.

“Computer science,” you replied non-committedly, watching his face break into a wide smile.

“Oh, that’s so cool! Me too!” He replied excitedly. You had to admit, his smile was very charming and you let your guard down a little more. Maybe he just got influenced by kids in your program to brag about Cali. “I haven’t seen you in any of my classes though! Would’ve remembered you. None of the other compsci girls are this pretty.” He smirked, clearly proud of his flirtatious comment. You narrowed your eyes at him, immediately put off.

“So glad to know you deem me pretty enough to notice.” You rolled your eyes, before grabbing your bottle of tequila and a few disposable shot glasses and making your way to the living room. “Well, it was… okay to meet you. I’m gonna go do shots.”

“Wait! I’m sorry, did I offend you?” he asked, brows furrowed in confusion as he easily caught up to you, walking beside you and even sitting next to you on the floor, as you lined up the glasses to pour the drinks for everyone.

“No it’s cool, dude. We just don’t have anything in common,” you said nonchalantly as the rest of your friends crowded the table, excitedly taking a shot glass in hand as Jungkook waltzed in with a plate full of lime wedges and an intricately expensive-looking salt shaker. Namjoon didn’t say anything as everyone took their shots, but watched you throw back your drink, noticing the small smile that overtook your features as the alcohol from earlier finally started to take effect. 

After a few more shots, the party really started. Although there were only seven people, your rowdy, borderline chaotic group had you laughing. Hoseok was going on some tale about his adventures back home where he ended up at a bar with his high school friends and got the numbers of four girls by doing a disgustingly named muff-diver shot. He bragged about his game, and you burst his bubble by telling him it was really only because he was hot. Something he didn’t take much offence to as he wiggled his eyebrows at you. Namjoon, however, came to Hoseok’s defence, much to your annoyance.

“And how would you know? I doubt Hobi here has used his A+ game on you.” He raised an eyebrow in challenge, making you scoff as you rolled your eyes.

“What’s that supposed to mean?”

“Well… you guys are friends, I doubt he would try to pick you up.” He spoke with a logical tone, as he eyed you and Hoseok.

“Oh really? Okay Hobi. Since your game is so great. Let’s see it.” You turned around, staring at your friend next to you. Namjoon leaned back against his hands on the floor, watching the scene unfold with a smirk.

“Really darling? Don’t blame me when you fall for me.” Hoseok moved closer, finishing his drink as you huffed in annoyance. You were in your first stage of drunk, the stage where you got mean for no reason

“Get on with it, loser. Your face is making me drier as we speak.” You waved as Hoseok leaned in, his nose rubbing gently against your ear, his breath on your neck, making you shiver slightly.

“Hey baby, how about you let me take you downstairs and defile you on Jungkook’s Iron Man sheets.” His voice was low, almost a growl. You never thought you would hear Hoseok’s sexy pickup voice and you were sure that if you were someone who had not seen him whine and cling onto you after a few drinks, you’d be putty in his hand. Instead, you burst out laughing, doubling over with your hands on his thighs as tears of mirth filled your eyes. Not one to give up that easily, Hoseok continued.

“See. I’m a funny guy Y/N. Let me eat that pussy!” He couldn’t hold back any longer either, his voice breaking at the word pussy as he too devolved into a fit of laughter. His comment, however, broke Yoongi and Jieun out of their bubble as they looked up from their make out session, looks of horror on their faces.

“Please tell me you did not just say that Hobi!” Jieun chided, her voice shrill.

“That’s fucking disgusting.” Yoongi shivered as he drank more of his whiskey in an attempt to calm himself. Hoseok and you continued laughing at your friends’ reaction, the rest of the group joining in, except Namjoon who seemed to be watching the two of you with raised brows.

“Wait. I don’t get it. That should’ve worked.”

“Yeah dude. Y/N what the fuck? Let me eat that pussy!” Hoseok grabbed you by the shoulders, shaking you while screaming at your face, between giggles.

“Oh my god. I’m gonna get a stomach ache. Stop!” you wheezed, before turning to Namjoon. “Sorry dude. I’ve literally helped Hobi pee once. There’s no going back to sexy when you see him whine about forgetting how urinating works.”

“Yeah and no offence babe, but you literally had your hands on my dick and it was flaccid as hell.”

“You guys are weirdly close,” Namjoon commented, his face scrunched as he assessed you and Hoseok.

“You think they’re close, you should see her and Jungkook. They even slept together!” Jimin remarks finally sitting down after dancing by himself for the past twenty minutes.

“And it was fucking horrible. High five!” Jungkook leans over the coffee table to slap his hand against yours, the two of you giggling.

“What kind of incestuous group is this?” Namjoon remarked, sipping his drink before turning to you where he watched you leaned over the table as you still slapped your hand against Jungkook’s to the beat of the music. “So when’s my turn?”

“Excuse me?” You recoil away from Namjoon, almost jumping in Hoseok’s lap. Oh here it was; stage two of your drunk persona, anger. You felt it coursing in your veins at his insinuation. “Who the fuck do you think I am?”

“Apparently the group dick toucher.” He smirked again, that annoying lopsided smile that made his one dimple deepen in his cheek. “I promise I won’t be flaccid like Hobi was.”

“Okay! Y/N and I are going on a walk!” Hoseok exclaimed as he saw your fist clenched. He knew you were ten seconds away from punching Namjoon in the face, and he put his arms around your waist and easily hoisted you up, walking you to the front door.

“Hobi I swear to god, I’m gonna murder him.” You glared at Namjoon as he returned your heated stare with an easy smile and a wave.

“I know babe. So we’re going on a walk. Let’s go pick up some food, yeah?”

The two of you walked around the block to the nearest McDonalds, picking up an assortment of cheeseburgers and chicken nuggets for the party, even getting Namjoon what he wanted, despite your burning desire that he starve to death. By the time, you returned to the party and took a couple more shots you were sufficiently cheered up. Hoseok had that affect on you, calming your mood with his jokes and anecdotes. 

Cuddled with Hoseok as you sat between his legs on the couch, the two of you shared a vape as you let the weed settle in your bones with a mellow buzz. Jimin sat in front of you on the floor, leaning against you as you ran your hands through his hair, enjoying the soft fluff. You were so glad that he had decided to forego his usual hair wax today. You felt like you were in utter bliss, your annoyance with Namjoon long forgotten. That is until you tuned into his conversation with Jungkook - not that you had any choice, because even though he seemed to be talking to Jungkook, his eyes were pointed at you.

“I’m just saying capitalism is the reason you’re sitting here in this nice home. People who can’t afford healthcare or education just need to work harder. That’s how life works.” Namjoon sipped his drink, raising an eyebrow at you, and you decidedly ignored his baiting. It was like he was trying to get you mad on purpose. You didn’t understand his gameplan. Why couldn’t he just let you enjoy bringing in 2017 like an adult?

“Dude… why are we even talking about this?” Jungkook groaned, face scrunching in distaste.

“I’m just saying people shouldn’t look for a handout when there are literally thousands of skills they could learn to make their lives easier. Why are we using our tax dollars for the lazy?” Namjoon shrugged nonchalantly, his gaze boring holes into you as you stared him down. Oh curse your stupid resolve, why did this fucker know you so well, you literally just met! Before you could stop yourself, you were speaking.

“I’m sorry, are you stupid? That is literally the dumbest thing I’ve ever heard. Education and healthcare are a human right!” Your voice was louder than usual, startling Hoseok and Jimin as you suddenly stood up, walking over to where a smug looking Namjoon and a confused Jungkook sat on the floor.

“I’m not, but you must be, to not realize that we could invest in teaching people skills to make money instead of just giving them money. Don’t tell me you’re a communist.” He sipped his drink, his eyes dancing with mirth, relishing the fact that he had gotten you to argue. And argue you did, for over an hour, the room forgotten as the two of you discussed social policies and taxation laws, ignoring Jungkook’s protests (“We live in a social democracy!”). You could feel the fire in your veins as you raised your voice, while he calmly discussed the matter at hand. Even though Namjoon was the most infuriating person you had ever met, the fact that he kept up with your arguments was extremely satisfying. Your friends knew you were the kind of person to debate a point until all the sides were uncovered so they would never start an argument with you, and as much as you hated Namjoon, you loved that he was such a great sparring partner.

“Oh my god! Shut the fuck up!” Jimin yelled suddenly, breaking you and Namjoon out of your bubble, as you looked at your usually bubbly friend, staring daggers at you. You sheepishly apologized, just as the countdown began.

Everyone stood and you followed suit. However the alcohol in your body decided to catch up as you stumbled, instinctively grabbing on to Namjoon’s arm to not fall over. As you’ve started to realize is his ammo, he one-upped you, putting his arm around your waist and pulling you into his chest. Fuck, why does it feel so nice and firm?

The countdown got closer to one and you felt trapped by his gaze, an intense look in his eye as he smirked at you. His eyes travelled from your eyes to your lips and you felt as if your chest was getting tighter.

“Three!” your friends yelled, but your mouth felt too dry to speak up. You licked your lips and Namjoon’s smirk widened. Why did you find his arrogant face so attractive all of a sudden? You wanted to punch him not two seconds ago!

“Two!” He started to lean in and despite yourself, you started anticipating his lips on yours. 

“One!” Suddenly, your earlier resolve kicked in. No dude who insulted you all night was going to touch you. You pushed him off turning around to Jungkook.

“Happy New Year!” You pulled your best friend towards you by his collar, giving him a loud peck on the lips as everyone cheered. Jungkook smiled, pulling you into a hug and jostling you around, giving you a chance to catch the dumbfounded look on Namjoon’s face.

You hugged all of your friends in turn, and when Namjoon, still with his mouth slightly ajar, looked at you expectantly, you raised your hand to him with a smug smile. You kind of felt bad for the way he deflated before he shook your hand, but before you could dwell too much on that feeling, he tugged you closer.

“Well played,” he whispered in your ear, his breath ghosting your neck, and you felt heat rising up your neck. You pulled away with a scowl and before he could say anything else, your phone pinged, the screen lit with the last name you wanted to see.

Taehyung (3 messages)

Oh great. What did the fuck did he want?

-

masterlist | next

I hope you liked this! Let me know what you think. For more of my works visit my masterlist!

[johannas-motivational-insults]

Jo’s Top 10 of 2020

I see lots of artists doing that thing where they post a piece from each month of the year... unfortunately my content creation isn’t necessarily consistent and it’s hard to track what month individual fic chapters were posted in, but I figured I’d do something similar and post my Top 10 pieces of content I created in 2020, what they’re about and why I love them. I actually did get a fair amount done this year thanks to the lockdown, but I’ve narrowed it down to these ten that I’d like to reflect on. (To be fair, I’m probably forgetting something huge. Feel free to leave comments if you think I passed over something important lol.)

10. Friendship in the Horde (meta): This is something I’d wanted to write for a while but finally got around to finishing in February. It’s basically a sociology paper lmao, an analysis of the social hierarchies and systems of the Horde. It was also a convenient excuse for me to gush about Catralonnie, an underrated (friend)ship. But honestly this was an important piece for me because I have always identified with the Horde characters way more than any of the rebels (other than Adora, who grew up in the Horde) and part of why is how they are in an unsafe environment and end up forming relationships that are helpful for survival but hinder them psychologically. And I think to understand the Horde characters and really evaluate their motives and choices you need to understand this first.

9. The Sting in My Eyes: On the surface this is just a run of the mill hurt/comfort oneshot, but it was a really important post-canon processing fic for me. I had a lot of feelings about Catra’s relationships with Shadow Weaver and Melog in season 5, particularly about how Catra must have felt really conflicted after Shadow Weaver told her what she wanted to hear all those years but in a way that felt unearned and out of the blue. It was really cathartic for me to write a scene where she struggles with those mixed feelings but has Adora and Melog to help her process them. And I had long associated the song the title is from with Catra and Shadow Weaver’s relationship, and the way she died trying to redeem herself really solidified that connection.

8. Hail Mary, chapter 6: This was supposed to be a short chapter mostly about the backstory between Catra and Scorpia in this au, with some Catradora yearning thrown in. It evolved into a massive, sprawling thing that is very atmospheric in terms of how the setting and vibes are described and how in the moment it feels. Hail Mary is like that sometimes but that type of narration is usually about football games rather than parties, so this chapter was a fun change of pace in many ways. It was really nostaglic for me to write too, the nerves of being a teenager at a party with your crush and how intense everything feels. And the Scorptra stuff really is delicious, it was nice seeing them have that conversation they never got to have in canon and truly make up, and the tiny sliver I added of Catra’s earlier history was heartbreaking in the best way. So this was not what I intended to write, but it turned out way better for it.

7. A Better Son or Daughter (AMV): I’ve done other Adora AMVs, but this one is really my iconic piece. The song is perfect for Adora, so perfect it’s on Noelle’s Adora playlist. The vid itself is a character study about Adora’s mental health struggles and the way she represses them, as well as a tribute to her resiliency and her eventual triumph of getting to a better place in her life. This is a song that gives me a lot of feelings and once I was making it about Adora it gave me even more, so this was a very satisfying piece to complete. I wish Noelle had gotten a chance to see it but oh well, maybe down the line.

6. Hail Mary, chapter 12: This is the chapter that much of the fic had been building to, Catra and Adora in conflict because Catra finally got the chance to be Adora’s hero and Adora shot her down. It’s painfully analogous to canon, both in terms of how (I suspect) Catra felt in Thaymor and Adora’s tendency to victim blame because she’s so pragmatic. There’s definitely some tones of Taking Control in there but Lonnie does a much better job of examining Catra’s psychology and needs than Glimmer did in canon (a writing error imo, Glimmer should have had more insight). Adora just wants to help but sometimes in her quest to do so she disenfranchises others, and this was a much needed look at that aspect of her character. It’s also an excellent illustration of what it’s like to play a peacekeeping role in an abusive household and how stressful it is trying to protect others while also protecting yourself.

5. Unstoppable (AMV): This is not my favorite Catra AMV I’ve ever done, but it might be the cleverest. The soundtrack is a song about mental illness masquerading as a song about being a bad bitch, which is basically Catra in a nutshell. The lyrics are incredibly fitting for her and her arc as it develops over seasons 1-4. The vid itself takes a hard turn in the interpretation of the lyrics, going from talking about how no one can stop Catra to how she can’t stop herself because she’s in such a terrible sunk cost fallacy spiral, and I think I got several death threats over that twist lmao. As someone who primarily deals in angst, there’s hardly a better compliment to be paid.

4. Demons, chapter 31: This one got real dark on me. The concept of this chapter was originally an examination of how comparing abuse can get really dicey but you also have to respect that other people have had different experiences from you and you have to be careful not to equate things or make it sound like you’re talking over someone else. I guess it’s also a bit of a look at how autistic people (like myself) will often explain why they can empathize so others know they understand rather than saying empty platitudes, but that can come off as insensitive or like they’re making things about them. I mean, in this case Adora kinda was making things about her, but she was provoked into it by a parade of comments insinuating she didn’t suffer at all, which was also unfair. Anyway it’s one of the more important Catradora fights in Demons and something I’d written bits of over a year prior, it was that important to the plot, but it also took a turn I was not originally planning. I finished the chapter when I was in a really bad depressive and self-loathing spiral and that bled onto the page, but it worked perfectly for Catra in this scenario... that push and pull of feeling like the world has hurt and victimized you mixed with knowing you’ve done some bad things yourself and feeling like you don’t have a leg to stand on when mourning the ways you’ve been hurt. It’s intense as all fuck but it’s excellent.

3. Hail Mary, chapter 11: Speaking of dark Catra content, this chapter... whew. It was really something else, to read and to write. I have written flashbacks in Demons that are more detailed and even include explicit violence but because those scenes are always in flashback form I never really got the chance to sit in the head of an abuse victim waiting for the other shoe to drop for an entire chapter like I did here. It’s quite different from the rest of Hail Mary stylistically and is both highly sensory and extremely internalized. It took me back to some terrifying moments in my own life so it was difficult but also extremely cathartic to write. It’s important too because it really sets up where Catra was at mentally heading into her big fight with Adora, and that chapter is in Adora POV. This chapter is ranked so high simply because it’s... polished, as @malachi-walker put it. It almost is its own story within the story and really noteworthy as a piece all its own.

2. Demons, chapter 26: This chapter is very similar thematically to Hail Mary 12, just based in the canonverse. It deals with one of the core (but highly neglected by fandom) conflicts between Catra and Adora, where they both need to feel like they can take care of and protect the other but also detest feeling weak or vulnerable themselves. It leads to Adora’s ego making Catra feel disrespected and Catra’s behavior confusing Adora and making her think she’s an ungrateful brat rather than someone who needs so badly to be needed, just like her. There’s definitely some power struggles in this chapter but finally they’re able to get to the heart of it and seeing them talk it out is so satisfying. Getting this chapter published was also important to me on a personal level because, like I said, this aspect of their conflict and relationship is rarely acknowleged for how important it is when really it’s one of the deepest conflicts between them in the series. It’s a scene I started writing pretty much as soon I knew I was extending the fic into something longer because I just needed them to have this conversation, so finishing it was so satisfying.

1. Satisfaction, chapter 3: This chapter took me a really long time to write, both in terms of time to get it published and time I actually spent working on it. It’s the crown jewel of a fic that’s really important to me and I had to get it just right, so I spent more time agonizing over every detail and rewriting things to get them absolutely perfect than I usually do (I’m a perfectionist anyway, but this took it to a whole other level). But in the end it was worth it, because this chapter is damn fine. It’s really hot, as you’d expect from a smut fic, but it’s also an excellent character study of how both Catra and Adora were affected by their abuse and trauma and the issues it raises for them in terms of sex and intimacy. Also, come on, we need more BDSM fics out there that focus on the actual point of it all (the trust involved) and promote communication and do the character work to explain why they might be into it in the first place.

BONUS (from December 31, 2019): One of my favorite pieces of 2020 technically came out in 2019, but I posted it on New Years Eve so most people first saw it in 2020. It’s an absolute banger of an AMV called I’m Not Jesus that’s all about Catra and Adora’s anger towards Shadow Weaver and their refusal to forgive their abuser. Funny enough this came out before Adora’s iconic “I will never forgive you” line, and Shadow Weaver definitely made things more complicated with how she went out, but I think the sentiment still applies.

[neversatisfiedwithlife]

I don't understand why anyone even liked Doug in the beginning. I've always despised him, except for a few moments. The fandom called him out for how he treated Izzie in season 4, yet ignored so many other things?

Like did everyone just forget that he walked out on his family just because Sam was diagnosed with autism? He was gone for 8 whole months. And later on he said something about never seeing his son smile, or that he just wants something in common with Sam (when he forced Sam to watch games or something - I don't remember too well). Until later on in the show, Doug didn't do much to try and like one of Sam's hobbies or interests, and just in general took everything as a personal attack. And when he went to Elsa's group he really showed that he was really late in doing anything to try and understand Sam's autism.

Not to mention he was still ashamed of Sam being autistic, and didn't "get over it" until he was outed for it. Plus, he was only supportive of Sam whenever he had a chance to one-up Elsa. Every scene was just an opportunity for him to look like the better parent, it didn't feel like he really believed in Sam at first.

And I can't explain it, but Doug's attitude in the whole show was really irritating. Even if he was right for it sometimes (especially when he found out Elsa cheated), he really took victim playing to a new level. His self-pity was agonising to watch. Not to mention the subtle toxic masculinity here and there. He just overall sucked as a character. He's like that one guy that never seems to be able to stay in his lane.

Sorry for the totally random ask, I need this discussion so bad, I genuinely don't get why everyone loves this character

I do think people sympathized with him at first being cheated on because cheating is never the answer.

But I do get exactly what you're saying, let me try and organize my thoughts based on your points brought up:

Izzie, no surprise she's a lot of people's favorite. But I agree why only when it pertains to Izzie are people's characters defined? Like Elsa no one wanted to view her as a positive character until she was there completely for Izzie, and that confused me because I actually really enjoyed her in season 3 and on rewatch learned to be patient with her in s2.

To be honest some people bring up stuff from season 1 that I literally forgot happened, so yes that could be a thing. I usually start my rewatches at s2, which probably sounds dumb: but I am aiming to do an entire series rewatch.

This reminds me of the Arlo episode, Doug is kinda insufferable here, no surprise he was oblivious, either by choice or just truly that way, the reason behind Arlo's dad not wanting Sam around was because he wasn't neurotypical and because he has autism.

Also the fact that he didn't stay with Elsa's group was actually on my mind earlier. He really didn't put forth any effort to understand Sam and kids with autism.

Also he left and then Elsa is the bad guy when Sam and Casey get on a fight? I hate that nobody brings this up. Idc what happened those are his kids, but he really just said no.

But yes he's only interested in Sam's interest, Antarctica, after Sam and everyone else have paved him towards being self sufficient. When Doug realizes he can be basically completely hands off with Sam now he's intrested.

(Idk if my additions were comprehensive or coherent or even added anything but I hope so. Thank you for this post I completely agree. I've really been having a roller coaster of thoughts on Doug since Friday lol- im not the same person I was a day ago about Doug😂😂honestly though)

[deans-haunted-baby]

The Ones Left Behind

Alrighty time for some truth bombs. I’ve had almost a week to absorb the end of Supernatural and season 15 as a whole. And I think this is the moment where I need to throw in my two cents. For all intents and purposes I won’t go in-depth into 15x20 seeing as that conversation will just open up a whole other can of worms and I don’t need that headache. I have my reasons for being less than indifferent with how the Winchesters’ story concluded. So I won’t go there.

Instead I’ll be focusing all my energies on the unsatisfying conclusions of 4 particular characters. Two of which were main cast members (one that was on the show 12 years and one 4 years) while the other two (played by the same dude) were brought back after a decade long hiatus for a much-anticipated comeback only to be wasted and mangled unfairly by Dabb and his hack horde of a writing staff. Call this a follow up to my last post. If I sound bitter I am because these people don’t have a single clue on how to helm these characters, their relationships or their storylines 😠 Nor do they deserve them.

And yes I’m well aware of Kevin Tran, Rowena, Ketch and several others who got the shaft on this show. Those could be future posts for another time.

But I cannot stress this enough; ADAM MILLIGAN, JACK KLINE, MICHAEL AND CASTIEL ALL DESERVED FUCKING BETTER. There is no arguing these facts, none whatsoever. Not one of these characters deserved that exit to be the final chapter in their story. I won’t do an entire analysis of each character’s arc and role in the show as I’ve already done that in my rant about 15x19. But I will highlight how much season 15 royally screwed over these characters and tossed them aside like trash; as if none of them were ever part of/contributed anything to Sam and Dean’s history/world building of Supernatural’s universe.

*WARNING* This is going to get heated.

Before I dive into the heart of these issues I want to state this is not a “shipping post”. I don’t ship anyone on Supernatural, hopefully this blog has been pretty self-explanatory. So I have no arguments/opinions in those areas. I’ve been a fan of this series for 15 years because of the characters, the familial bonds and relationships formed between characters throughout its run. And I’m well-aware that the Winchesters are the lead protagonists of the show, no need to remind me. These are purely my own thoughts based what I’ve obtained from show canon. Let me just say I can’t get over just how much these writers contradicted and ignored what they put forth in the journeys of these four individuals. its a real headscratcher.

You mean to tell me that after TWELVE DAMN YEARS of Castiel being a rebellious warrior angel, searching for his own identity and meaning in life; making that promise to Kelly Kline about raising Jack as his own/risking his life for him. After sacrificing himself for his son a year ago, acknowledging he was satisfied with his role as a father which restored his faith; that it was all because of/for Dean Winchester? 

You mean to tell me that after Michael, THE PRINCE OF HEAVEN and PROTECTOR OF HUMANITY, was locked away in a cage with a human whom he emotionally bonded with for thousands of years (10 years our time); who was abandoned, betrayed and manipulated by his neglectful/abusive father. After choosing free will and aligning himself with TFW for humanity’s sake, just sided with the Earth’s destruction because his little brother called him names? 

You mean to tell me that Jack, A THREE YEAR OLD CHILD, who’s barely just beginning his life and spent his entire duration on the show wanting to be normal and not wanting to be special. Connecting and being integrated with humans; a child who’s biggest fear was outliving everyone he ever loved. Is suddenly ready to walk away from his family, his home and his teddy bear; to give up being a kid forever and run the universe?

You mean to tell me that Adam, SUPERNATURAL’S MOST INNOCENT CHARACTER and FORGOTTEN THIRD-WINCHESTER BROTHER, after being eaten by ghouls; pulled away from his mother out of Heaven, manipulated by angels, trapped in Hell for thousands of years because Sam and Dean left him there to rot. After coming back and helping his neglectful siblings save the world only to be ripped away from his best friend and THE ONLY OTHER PERSON who gave a damn about him; is sentenced to a life of loneliness, homelessness and turmoil until he dies and ends up in Hell where he’ll mostly be tortured and turned into a demon?

NO. I DO NOT AND WILL NEVER ACCEPT THIS BULLSHIT! 

Season 15 not only manages to contradict itself where these characters are concerned (while assassinating them before the final curtain). But the writers deliberately discarded them before giving us that *sarcasm inserted* epic solo-Winchester conclusion. Regardless of how you feel about Adam, Castiel, Jack or Michael, ALL OF THESE CHARACTERS are connected Sam and Dean’s story and part of Supernatural. And when you throw them away like they mean nothing, you’re essentially throwing away a part of the show’s history. You’re ignoring 15 years worth of story building. 

As I said I’m not going to go into 15x20 for reasons, it doesn’t offend me as much as what was done before that finale. Because I think those other show exits really affect 15x20 even worse than people realize. You want to know why, I’ll explain.

Lets start off with Castiel and Jack, OH BOY! We know where they end up; running Heaven and the Earth together which is all fine and dandy. I love my Dadstiel father/son duo being an endgame family unit. But here in lies the problem, we never saw it. Not even a cameo. And technically their onscreen storyline ends at 15x18 and 15x19 which is an ugly, anti-climatic bookend to an incredibly deep relationship that had 4 years of development. First you have Castiel who completely forgets why he made that deal with the Empty to begin with. HIS FUCKING SON. Not to mention it wasn’t about true happiness it was about giving himself permission to be happy; there is a difference. And then you have Jack wandering around next episode, vacuuming up power cause suddenly he’s a machine now, acting like he doesn’t give a shit over losing his dad to an entity HE’S BEEN DREADING ABOUT FOR A FUCKING YEAR. 

Towards the end of season 15 I noticed neither of these characters were acting like themselves. Their motivations, their personalities and strong ties to one another had mysteriously dissolved. Castiel became less concerned about the danger his son was facing after 15x15 (what the hell was that in 15x17?) and more about speaking when spoken to by either Sam or Dean. Does he know how Dean truly feels about Jack; proclaiming the child is “not family”? I doubt the in-character version of him would let Jack leave with Dean after that insult. Castiel’s not even worried whether or not his son is alive or safe before he makes the big confession later. And for some reason Jack (who’d become heavily suicidal) was more concerned with clinging to the Winchesters, willing to die for them, instead focusing on himself and the one person who’s shown him nothing but unconditional love and given him strength since birth. Both of these characters are canonically depressed and suffer from low self-esteem that was never resolved which makes me furious. 

When Chuck killed Jack at the end of season 14, this devastated Castiel in the first half of season 15. He actually got to grieve that loss throughout the episodes and deal with his anger over it, allowing the audience to anticipate the day they’d be reunited one last time. This part of Castiel’s S15 arc also ironically mirrors Jack’s S13 arc of mourning Castiel’s death until resurrecting him. And when this son finally returned to his father, who got to rescue him, it was such a poignant moment between the two. It was a cathartic payoff after witnessing Castiel in so much pain over Jack. There was so much building up between that Dadstiel reunion in 15x11 and the Empty’s pact in 14x08; this was suppose to be a tragic yet pivotal plot-point in both Jack and Castiel’s stories. And with SPN wrapping up we all expected something BIG. Yet somehow the writers retconned the whole thing by making it all about Dean, which is such a gross disservice to these characters and 4 years of storytelling.

For instance, since 15x18 was Castiel’s exit episode, why wasn’t he allowed to hug his son or Sam goodbye one last time? Why didn’t he have more of a focal role instead of standing around majority of the episode with barely any dialogue as so much precious air time was wasted on frivolous things? Why didn’t he get one last badass fight scene with someone like Death instead of being choked out and tossed around like a powerless mortal? Why did the group need to be split up to begin with when it served no purpose either than that *ugh* moment? Why wasn’t Jack allowed to call Castiel “dad” once before the show ended? He deserved to hear his son address him as dad!

AND WHY THE HELL COULDN’T JACK FEEL CASTIEL’S DEATH THE MOMENT IT HAPPENED? 

The show already established to the audience the significant cosmic bond these two characters shared since before Jack was even born. It was so powerful it boosted Castiel’s grace. Jack could remember who Castiel was from the womb and that he’d protected his mother. Not to mention HE FUCKING RESURRECTED CASTIEL OUT OF THE EMPTY ONCE WITHOUT GOD’S POWER. You’re telling me Jack couldn’t feel his dad being taken away forever despite how far apart they were? No, he’d feel it in his heart. Had we’d been given a scene like that at the end of 15x18 (something of substance) with actual grief shown in 15x19 maybe the episode would’ve faired better for them. 

That said it wasn’t, because Jack was treated the exact same way in his final exit. Hardly any lines and just a bunch of scenes of him standing/walking around until that pathetic reveal at the lake. HE DOESN’T EVEN GET TO INTERACT WITH JAKE ABEL’S MICHAEL/ADAM which would’ve been a great follow-up to the AU!Michael storyline in seasons 13 and 14. I swear these directors didn’t give Alex and Misha any motivation during their last three episodes and it’s evident in their hollow performances. But why would they when the scripts are basically telling their characters to quickly fuck off so the brothers can have their final outing. Jack doesn’t even behave like himself after he becomes the new God. His personality is apathetic, cold, alien, stiff and way too mature for the 3 year old child so closely connected to his family/the human world. In that moment I saw Alex Calvert not Jack Kline. It’s bad enough he doesn’t get a meaningful farewell but again Castiel, HIS DAD, is a complete afterthought to this kid 🥶

And that’s what we’re left with. Forever. A frigid, hollow ending to one of Supernatural’s most healthy, touching, family dynamics. It makes you wonder what was even the point. I can’t even fully enjoy the fact that its canon Jack and Castiel are together fixing Heaven because of what the show presented onscreen as their last hurrah. It’s not sitting right and it makes 15x20 even less appealing to me.

Moving onto Michael and Adam. Get ready for this. I could rant forever about how dirty my boys were done by this show. How they were discarded in the SPN series finale recap etc. just as they were FOR THE LAST TEN FUCKING YEARS. Was there even a plan going on here or was this just everyone making things up as it went? Their ending is the most unsatisfying and cruel thing because its INCOMPLETE. There is no real closure or resolution with them thanks to the monstrosity that was 15x19. AND NO ONE CARES ENOUGH ABOUT THEM TO GIVE A SHIT. 

Much as I’ve enjoyed this show for many years, it NEVER deserved Jake Abel, his talent or his time. I keep seeing so many anti posts about Dean Winchester’s final fate in Supernatural and all I can think about is “try being an Adam Milligan fan for the last decade”.  I’ve had to watch this boy go through hell with nothing to show for it either than years of memes. ridicule and the show’s mockery in forgetting him. Actually he’s the ONLY CHARACTER in this series you’re encouraged not to remember 😡 Also quick question: why give us this really interesting and healthy relationship between an archangel and its vessel if nothing was ever going to become of it? 

At this point I don’t know why Adam or the idea of him was even introduced way back in season 4 let alone revisited in season 5. Because the only thing I see when I look at this character now is SAD WASTED POTENTIAL. Storylines never explored. Relationships that never got off the ground. Backstory we never got to see (like for instance his past with John Winchester and his time in the cage). A character’s birthright (Men of Letters) that was never actualized. AND the unexplained factor that Adam could look directly at Michael’s true form without his eyes burning out (making him a special case). And the thing is he could’ve been a really great character, both him and Michael. They could’ve easily reached popular status just like Castiel given the chance since Jake is a freaking acting-powerhouse. We were given a taste in 15x08 just how awesome these characters could be and how they could’ve contributed so much to the story and its core group. But unfortunately it wasn’t meant to be.

Michael will never redeem himself after years of scrutiny and being made out to be some kind of unhinged monster. This show constantly enjoyed pounding into our brains how fearsome Michael was. Warned us via Lucifer (LUCIFER, PEOPLE!) that he wasn’t rational, compassionate and didn’t care about anything except war, death and destruction. And that he was incapable of feelings and emotions. This is how Supernatural saw Heaven’s Prince and guardian of the Earth. Christ, they actually did a two-year storyline about an evil Michael from the AU world who enjoyed torturing and killing while trying to destroy the universe. I want to know WHAT THE HELL THIS SHOW’S WRITERS HAD AGINST THESE CHARACTERS? Why they felt the need to bring back Jake Abel, AFTER A DECADE OF FANS WANTING THIS, if it was simply to piss all over his characters one last time before the show wrapped. This is absolutely unprofessional and childish; the fact that Jake is taking this bullshit in stride makes it all the more shameful 😡

We could’ve learned so much more about Michael’s past and his present relationship with Adam. These characters didn’t need to sit in the cage for a decade they could’ve easily been incorporated back into the show as far as season 8 or 10! And been an asset to the Darkness storyline in season 11.There were characters and storylines introduced that served no purpose. Why did we need to keep seeing characters like Charlie Bradbury or (as much as I like him) Crowley or Garth (love him too) or Lucifer or Abaddon or the Wayward sisters? I would’ve much preferred having Adam and Michael around and got to know them instead; especially after 15x08. I would’ve wanted to see what their dynamic with TFW could’ve become had they been long-time allies. Did John ever tell Mary about Adam’s existence? I’d like to see what her reaction would’ve been like had the Winchesters remembered him during that damn 300th episode. I guess that’s another loose end untied.

But because of what Supernatural did to these two characters, it forever taints Sam and Dean. I don’t think Dabb or purist fans realize this. But when new viewers come into this show about two brothers preaching important things like “saving people”, “family first” or “family don’t end in blood” they’re going to see how badly the main protagonists treated their innocent half brother. How Castiel and Jack were treated. They’re going to see the heroes of the story abandoning this kid in Hell forever with no intention of EVER rescuing him. And that’s why their final appearance leaves such a bad taste going into 15x20. Cause as much as Dabb and co didn’t give a shit about Adam and Michael they also didn’t give a rat’s ass about protecting Sam and Dean’s integrity. That’ll be a stain they can’t undo. 

So through all of it, we’re stuck with the abomination that is 15x19 aka the eye-soar to an unfinished/unpolished story of two horribly disregarded characters. Michael gets the pleasure of being character assassinated right before he’s stupidly killed off instead of going out a hero or becoming the next God (as it was his birthright and the setup was there in the narrative). And Adam gets killed off-screen, OUT OF HIS OWN DAMN BODY, then brought back by Jack only to live a miserable, isolated existence since his brothers have nothing to do with him (the dog and car are more important); his best friend is dead, he has no job or money or a fucking home and he’s legally dead! Really what is there left for him besides the brutal fate awaiting in Hell when he dies?  

SERIOUSLY THEY COULDN’T GIVE US ONE SCENE WHERE THE WINCHESTERS CHECKED IN ON ADAM TO MAKE SURE HE WAS SAFE?! 🤬 His last scene pretty much sums up this shit for what it is. Tragic. I feel like crying for this poor sweet boy.

Congratulations Dabb, BL and co for giving us these much deserved broken story arcs of characters you destroyed and made OOC before leaving the airways. You did your show’s protagonists justice by doing this *sarcasm inserted* after 15 years of being onscreen. I doubt these idiotic decisions are going to age well in the long run. They certainly don’t look good on the Winchesters. Anyway that’s my hot take for the day. 

ALL THESE ACTORS AND THEIR CHARACTERS DESERVED BETTER.

[danganronpasurvivoraskblog]

Mod, who are your top 10 favorite characters and top 10 least favorite?

//I have actually been wanting to discuss something like this, so I’m glad someone brought it up to me.

//I’ll go through with this, but I won’t be discussing my least favorites, since I don’t want to bring any negativity, and to be honest, I enjoy writing pretty much everyone in this blog. I also fear if I share who my least favorites are in the main series, said characters won’t get as many asks, and I don’t want any unfair bias. I can definitely admit to hating Haiji though, because...well...he obviously won't be receiving any questions anymore. Besides, I doubt many people will disagree with me.

Honorable Mentions:

Makoto Naegi

Mahiru Koizumi

Kirumi Tojo

Kaede Akamatsu

Tsumugi Shirogane

Shuichi Saihara

Iroha Nijiue

Mikihiko Koyasunaga

Yoruko Kabuya

Tsurugi Kinjo

Uchui Porosen

Kibin Hatsudoki

//Though to be honest, everyone may as well be an honorable mention because I love writing every single one of these guys. Also, like I just said, don’t let this top 10 affect your asks. I love every character in this blog and I’m happy to make asks for each and every one of them. It was really hard to narrow it down to 10

#10: Tenko Chabashira

This might seem a little surprising, given that Tenko hasn't had a whole lot of screen time and story relevance so far. She's only been prominent in two arcs, Deadly Harmony and Novoselic Revolution, both of which she didn't have as much screen time as most of the other characters. However, not to spoil anything major, I have big plans for her, and what I've pulled out of her so far is something I'm proud of. My main goal is mainly to give her a bit of development, and tone down on the sexism element of her character. Not remove it entirely, mind you, because let's be real, Tenko unfortunately isn't Tenko without it, but basically to not do what the DR dev team did and make it the forefront of her character, while her other exceedingly good traits are just at the back until later on in the story.

#09: Kokichi Ouma

Kokichi is one of, if not, my favorite character in the original DR series. My main goal of him in this series is trying to grapple with his constantly changing attitude, mainly towards the DRV3 cast besides himself. At first he's glad to see them, then he turns spiteful towards Shuichi and Kaede when they try to fight him, then he straight up just abandons them and attempts to cut off contact. As he is right now, he's conflicted about how to feel about everyone. Sure, they all still hate him, but during Cabaret Kyojin's they came to his defense when he most needed it. That whole arc might've seemed pretty pointless and acted as needless filler, but my true intention of it was to flesh out the characters involved, mainly Kokichi and Kuripa. Speaking of which, that's another plot point that I'm looking forward to branching upon: the little companionship those two have going on right now.

#08: Monaca Towa

Monaca is a character I actually tend to struggle with in the grand scheme of things. The reason being that, arguably, she in canon is the second biggest antagonist in the series behind Junko. What I tried to do with Survivor though, is not make her an antagonist, but make her slowly become more and more redeemable, despite her actions. The reason why I went with this approach is mainly due to Monaca's last appearance in the series, where she states to Toko and Komaru that she's kind of just done with everything to do with Junko and Despair. I don't think it would be easy to bring her back as an antagonist because of THAT fiasco, and that is legitimately one of favorite scenes of her...which is funny because it's from DR3 and I kinda hate the anime. Her whole presence in Survivor is based around the idea of trying to seek redemption, but she doesn't outwardly want to admit this, nor does she really think she's worthy or deserving of said redemption. She's an adult now, and she grew a conscience. A guilty one that weighs her down and makes her come back to earth to basically settle things and make peace, and though it's been difficult, I love how she's turned out so far.

#07: Akira Tsuchiya

I understand many have their reservations about Akira after what he did this arc, but he's still legitimately one of my favorite villains in this blog because despite the fact that he's a psychopath who kills and ruins people all just for causing Despair, he's just kinda super relatable. He constantly lives with the attitude of just being done with everyone's shit, and I know a lot of DR fans can relate to that. He's also the kind of guy who marches to the beat of his own drum, which is obviously a very slow beat. He rarely ever does what Tsumugi tells him to do, unless the plan interests him or gives him something to do, and his character in general is based around the idea of "Shut-in NEET who just so happens to have a power complex." Overall, what makes him unique to me is just how normal he is, especially when he's compared to the chaotic sea that is the Danganronpa Villains.

#06: Mikan Tsumiki

Novoselic Revolution had the very important role in the story of mending Mikan. Without her efforts and the sacrifices she made in that arc, there's a high chance that the group would have failed to retake the kingdom from Angie and Mikihiko. It goes without saying that the screentime Mikan got in this arc was some of my absolute favorite moments on this blog from a writers perspective. A lot of people in DR dislike Mikan for her actions and character change in the third case of the second game, which I really don't think is fair. Mikan was just the character chosen to be afflicted with the Despair Disease. Nothing else would have been changed had it been a different character, so her role early on in Survivor is mainly her trying to come to terms with her actions, as well as things like making things right with Hiyoko (and Ibuki by extrension) and reevaluating whether or not she's a good person. Mikan is an emotionally and mentally broken child, and it's my full intent in my writing of her to heal her wounds like she does for so many other people.

#05: Narumi Osone

Easily my favorite Zetsubou villain in the blog. During Novoselic Revolution, I really buttered up how much I enjoyed writing Mikihiko, but in reality, I was just waiting for the Rebirth Duo (her and Akira) to burst onto the scene. She didn't make for as great a twist villain in Life and Lies of Akeru Yozora as I would've liked her to be, but even now, I still feel like she left an impact. I mean, she committed quite the number of atrocities. The main reason why I like Narumi though, is how she diverges from the rest of the Zetsubou group. While most of them are doing their evil things for reasons that constitute to causing as much Despair as possible, she does it for almost the complete opposite reason. She absolutely despises Despair, and the only reason she's with Organization Zetsubou, is so that she can patiently await and watch as the Hope that stems from the people fighting back. It's also plays into her ideal. Narumi is so obsessed with Hope that she believes that anyone and everyone who is without hope, and gives into Despair, doesn't deserve to live (and ideal that also allows her to easily hit it off with Nagito). To name the best example: The UUV. Their revenge fantasy is based around the Despair they feel post Ayumu and Marin's deaths, and not around the Hope of their goal of reforming society, even if by force. When Narumi notices this, is angers her so much she murders all of them in cold blood, believing them to be beyond redemption. As a final note, Narumi's violent nature and lust for bloodshed (and lest not forget her weird obsession with Makoto) is also made all the more tragic when you remember she's literally just a 14 year old kid with not a lot of life experience. For someone to be this far gone at such a young age is pretty depressing, but it also provides me with a lot of great writing opportunities, and god damn it she isn't a fun character to write.

#04: Mukuro Ikusaba.

I could pretty much just copy/paste the basic things I said about Monaca's personal conflict for Mukuro, but on a much more extreme level. This is something that I plan on actually branching on later down the line, but Mukuro's backstory and reason why she has a presence here is briefly mentioned by Sayaka in one post. To sum up what she said, when the Foundation were first starting to use the machines to bring back the victims of the first killing game, Makoto was the one who suggested possibly bringing Mukuro back, something that understandably, his classmates initially were against. However, at the time, Kyoko was still new to being the Foundation Chairwoman, and Makoto very much pressed the issue with her. Kyoko eventually agreed to the resurrection, but in exchange, any and all actions committed by the soldier, most notably any treacherous or bad ones, would subsequently be Makoto's responsibility. Of course, as you can imagine, Makoto accepted these terms, and Mukuro was resurrected. For a while afterwards, many were very wary of her presence, and most didn't outright accept her as a member of the Foundation, even when the Remnants of Despair officially signed up. What you have to remember is that Mukuro wasn't really brainwashed into helping Junko, at least not in the same way that the Remnants were. Most of what she did for Junko is what she did willingly, but Makoto felt that in reality, Mukuro was just another one of Junko's victims and she'd never known Hope in her life, which is why she turned out so chaotic, so his whole intention of reviving her was to redeem her honor, of which he was pretty much successful. The main trait of Mukuro's though that I tend to focus on, is arguably her most serious: her PTSD. Of all the characters who could have been hit hard with PTSD, it makes the most sense for it to be a soldier, and since the beginning of her revival, Mukuro has been cursed by the lingering ghost of her dead Despair sister. Junko's presence in her mind less drives Mukuro insane though, and simply makes her doubt herself and her presence, wondering if it was worth being revived, or whether or not she truly deserves to live. But regardless of how she feels, she's duty bound to the end, and still supports everyone unquestionably, especially towards those in her own branch being Makoto, her boss, the man who saved her, and of course her undeniable love interest, and Kuripa to whom she disciplines, but also acts as a mother/big sister figure to.

#03: Hajime Hinata.

It might just be me, but I feel like Hajime in particular is the fan fav in this blog. I feel he's shown up in more posts than any other character, which is fine by me given he's also one of my personal favorite characters, and is probably my favorite protagonist (it really changes depending on my mood, honestly, I think they're all as great as each other). The remnants of Despair's conflict is an obvious one that you commonly see in post-game fics such as this one, and in Survivor, and my personal opinion, Hajime is undoubtedly the one who has it the hardest. However, out of all of the characters in the series who HAVE trauma (and let's be real, that's undoubtedly a LOT of characters in both DR canon, and this blog) he's also undoubtedly the one who handles it the best. However, there is a limit to how much pressure he can take, and that causes him to lash out (like he did with Mahiru during Misfortune's Revenge, which I know we don't like to talk about but its the most notable example). He's been through a whole load of shit and the pressure is constantly crushing him like a gigantic boulder, yet he still forces himself to carry it. Outside of my own writing, Hajime has so many conflicting thoughts and trauma in other fics, and in Survivor, I don't intend to flat out copy them, but I do desire to live up to them. The reason why Hajime has so many burdens placed upon him, and as of Misfortune's Revenge now has double as many, yet is still able to keep going strong, is because he's no longer allowing himself to be weighed down by events that are in the past and out of his control. What makes his ideal unique, is that he has power, almost limitless amounts of it, but instead of focusing on what he can do with it, he's more conflicted and focused on what he CAN'T do, and changing the past is one thing he can't, and as of such doesn't focus on it. He only ever focuses on the present, and the future, and worries about that. And you've got to hand it to the guy, while it's definitely been better, his life is actually super good right now. He has at least 15 really great friends/found family members, a home on an island resort, an AI companion in his phone who will always help him out and support him, a smoking-hot red-haired girlfriend, a pretty good job and a lot more. For him, it's not simply a matter of abiding by the Foundation and fixing the chaos that he indirectly caused. It's also about the fear of losing what he has, and wanting to protect it.

#02: Ayumu Fujimori.

I've said this one or two times before, but I think Ayumu turned out spectacular, and when I eventually had to kill him off, I felt really bad about doing so. The main reason why I removed him, and why I currently don't have any plans to bring him back, is due to my future plans, having him around would make little to no sense. He serves mainly as a catalyst for the new phase of the story, a much darker one, and with his death, we enter that phase. I know many people are worried about it, but it's not just Ayumu's reason for being in the story that makes him great. While it isn't obvious right away, the main character that I was trying to portray with him, is that he's basically the darker side of Hajime. The two of them share very similar traits in character, personality and backstory. Some notable points would be

Both of them are incredibly self-doubtful, and that self-doubt caused them to become Ultimate Hopes.

Both of them once held huge admiration for a powerful group of people. For Hajime it was Hope's Peak and for Ayumu it was the Japanese Government

Said power called them useless, which led to their transformation

Both have pretty sad backstories, which involve two different types of cruel parents and family's.

They both have a best friend who likes to sleep.

Said best friend ended up dying horribly right in front of them, with them both unable to do anything about it, which eventually leads them both to go insane and make some bad decisions.

Though their methods differ, ultimately, they both want the same thing: a brighter future for their friends and the people they love

Ayumu might be a threat, and an antagonist, but he doesn't really count as a "villain" per se. At the core, he's basically just a misguided young man, who the world treated like shit, so he just wants to get back at it. He's also an influential figure, pulling many people into his fight, and gaining many supporters outside of his friends in the UUV. For the short time he was on the blog, he was an absolute BLAST to write, and you can damn sure bet I'm going to miss him.

#01: Kuripa Kurafto.

This is undoubtedly the riskiest part of this list, especially since we're talking about an OC here, but I also think a lot of you guys saw this coming. I can understand why some of you might disagree with me on this placement, but I'll tell you now, if you're unimpressed, trust me, I am barely scratching the surface of Kuripa's character. As of such, I have to go on this based off of what's already known about him. His whole character I feel comes full circle at the end of the Ultra Despair Gang arc, in which the first monumental event in the blog actually happens: him killing Haiji Towa by stabbing him in the gut and sending him falling to his death. This is then followed by a speech to Makoto, Komaru, Toko and Byakuya, which basically lays out the key part of Kuripa's character, being his ideals. Every protagonist in Danganronpa goes by a certain ideal that contrasts that of their enemies. For Makoto, it's Hope, for Hajime, it's Future, and for Shuichi it's truth. Kuripa is the complete reverse, being a protagonist that represents Despair. He's not outright a villain, or even a generally bad guy, but he definitely has some apparent darkness to him, and is also incredibly violent when at the peak of rage. Of course, it all stems from a huge event in his life, the murder of his little sister Kotoko by the hands of Matta Gyalusetsu, which has led to his over-arcing conflict: his desire to find Matta and kill him as revenge. I tend to hate characters in stories who have the "My Sister is Dead" archetype or trope, but the main reason is because most characters who have that JUST have that, and for Kuripa that's something I'm trying to avoid. One of the most important parts of Kuripa's character is the contrast between his dark, almost psychopathic side that believes murder is a suitable way to indefinitely solve a problem, and his regular self, who to put simply, is a complete and total clown. He's like a walking meme, and makes a total fool out of himself, either through just being a mindless tomfool, a playful perv, or a loveable idiotic otaku. Still, his presence is indeed important to everyone around him, especially seen through his interactions with Makoto, Kibin, Mukuro, Uchui, Kokichi, The Kyojin's and the High Roller staff. This is another thing in regards to Kuripa's conflict that is quite saddening to. Similar to Hajime, as things currently stand, Kuripa has an excellent life. He's a successful animator who makes a lot of money from his work, he enjoys his time at the Future Foundation and really looks up to both Makoto and Mukuro who both treat him with a reciprocated amount of respect, he gets to work in tangent with his best friend, he has many pals, some of which are part of an anime club, and on top of it all, he has a cute girlfriend who playfully flirts back and forth with him all the time. He has everything a guy could possibly ever want, but due to his one track mind, he can never be satisfied knowing Kotoko's killer is still out there, and he will do whatever it takes to avenge her...even if he needs to cut a few people down to get it...

//Doing this kind of self-reflective character analysis is pretty refreshing and fun to be honest, although, doing it makes it sound like I have a big head, and am complementary of my own writing where I know many might disagree with my techniques and opinions. You're free to, believe me, but please keep any criticism constructive.

-Mod

[scottymcgeesterwrites]

Final Fantasy XIII Review

Year: 2009

Original Platform: PlayStation 3

Also available on: Xbox 360, PC, Android, iOS

Version I Played: PlayStation 3

Synopsis:

On the planet Cocoon, those who come into contact with anything from the planet Pulse are purged to that planet. Pulse is a feared planet full of monsters and strange creatures. Both planets are ruled by fal’Cie, mechanical godlike beings who sometimes brand humans as their servants for specific tasks, called a focus. Those who fulfill their focus are turned into crystals and obtain eternal life. Those who do not fulfill their focus turn into mindless monsters. Lightning is a former soldier whose sister, Serah, is branded by a fal’Cie and taken to be purged. Lightning sets off to rescue her.

Gameplay:

Going to say this now – the worst gameplay in the entire Final Fantasy series.

The battles are Active Time Battles but instead of you inputting individual commands, there are what’s called paradigms. Paradigms are somewhat like Job Classes from the old Final Fantasy games, except less fun and more automated. You can switch to a Medic paradigm in battle and every time you press “Auto-Battle” your character automatically performs a series of necessary cure and restore spells, based on what’s going on in the battle. The Sentinel paradigm specializes in keeping the enemy at bay. The Ravager paradigm uses magic. The Commando paradigm uses physical attacks. You get the picture.

As a result, the gameplay could be best described as:

With occasional switching of paradigms whenever you see fit. You can set up a number of combinations across the characters. Two Commandos and one Sentinel. One Sentinel and one Ravager and One Commando, etc.

The party automatically heals after each battle – you can even press start during a battle and restart the battle.

I probably only used an item once or twice. I honestly don’t see why they bothered putting any items if you hardly ever use them.

You can upgrade your weapons with pieces and junk you find after battles. You find so many of them that you hardly ever think about what you’re upgrading so long as whatever you make upgrades your stats. Is this better? No? What about this? Okay, good. Moving on.

Like Final Fantasy X, the game is linear. Much more linear. You follow a long hallway for about 30 hours of the game before you can do sidequests. The sidequests involve completing other people’s focus. That’s about it. There are no towns, no inns, no villages. You are entirely on the road, constantly in battle (Okay, there’s like one time where Sazh and Vanille are in a casino or something but that’s about it).

I wrote a blog piece a while back about what exactly was wrong with Final Fantasy XIII, and it’s not that it’s linear. We play really great linear games all the time. It’s the automation – the feeling that you’re not really doing anything.

There isn’t an ounce of customization. Leveling up is similar to the Sphere Grid of Final Fantasy X. It’s called the Crystarium but it follows a strict path. You can’t actually stray anywhere or customize anything. If that’s the case, why bother making you open the menu to level up through the Crystarium? Why not just automatically do it? I guess they want to give you some ounce (more like a milligram) of control over the game.

Basically – you’re watching a long movie and occasionally get to move the people around. That’s how I see it.

Graphics:

PLAYSTATION 3 HD GRAPHICS HOMG DO YOU HAVEA BONER YET? LOOK AT THIS. FIRST FINAL FANTASY GAME IN GLORIOUS HD.

Everything is pretty in this game. Everything. There is nothing wrong with this at all.

Story:

The characters appear to reference those in Final Fantasy VII. Director Motomu Toriyama wanted Lightning to essentially be a female Cloud Strife. She’s a no-nonsense, athletic female lead. While Cloud and Squall were introspective and antisocial, Lightning is slightly different by actively ordering people around. She comes off as a dick to everyone, and that’s due to her ex-soldier background. Think of your stereotypical ex-cop/ex-CIA/ex-military action movie hero, like Liam Neeson (Bryan Mills in Taken) or Bruce Willis (John McClane in Die Hard). That’s basically Lightning.

Can we go on a short tangent for a moment to talk about how weird it is that Lightning was also used as a model for advertising in Japan?

Here she is driving a Nissan.

And wearing Louis Vitton.

Cool? I guess? Unless you start to realize that Toriyama wanted to design his own personal waifu, and that he’s completely obsessed with her. That gets really weird. And sad? A little? Anyway.

Vanille has some reminiscent of Yuffie from Final Fantasy VII, although with more character via her inner monologues and narration. Fang is vaguely like Vincent Valentine. Sazh takes the place of Barrett as the token black dude, except instead of being aggressive he’s more like the comic relief and wants nothing to do with anything. Every time you control him, jazz music plays, because black people I guess. Hope doesn’t appear to be reminiscent of anyone – he’s just this boy who yells and complains a lot with Lightning. Snow meanwhile is a ripoff of Zell from Final Fantasy VIII, except somehow even more annoying.

(Every time I see his picture I think about your typical dude bro at a frat.)

The story starts of a bit choppy as you follow almost each character separately, then they run into each other, then separate again, then join again. The first 30 hours or so gives flashbacks of 13 days prior- BECAUSE IT’S FINAL FANTASY XIII GET IT? Vanille actually narrates some events but it’s not exactly clear why or from when – but that’s a spoiler. Along the way, I got really confused because I didn’t know why some people were fighting each other when they were on the same side a moment ago. The concept of the “focus” is really weird and sometimes confusing. People with a focus simply have visions or a general idea of what they’re supposed to do, but they don’t actually know for sure unless they actively seek it. If the gods granted them a focus, wouldn’t it make more sense if the gods just told them what to do? Seemed to work in Final Fantasy XII. 

In short, the narrative weaves around a lot. If you stop playing in the middle and pick up the game again months later, you’re bound to forget what’s going on. I know I did.

The characters didn’t annoy me as much as you would think they would on paper. They all have character development and that’s good. The only character that effectively got on my nerves was Snow. Snow is Serah’s fiancé, and Lightning hates him because of course you need some family drama. I don’t blame Lightning though. Snow shouts cheesy lines left and right, like “Heroes never die!”. He shouts Serah’s name the same way Christian Bale shouts Rachel’s name in the Christopher Nolan Batman films. Snow is quite possibly the most irritating character of all the Final Fantasy games. He will not shut the fuck up about what it means to be a hero.

The rest of the cast works well in that their motives and desires clash with each other. But I’m still sore about the wasted potential for a great character in Jihl Nabaat. Sazh wants his son Dejh back, who was taken to be purged by the sinister and extremely hot Jihl Nabaat.

 Goddaaayyyum. Seriously, look at her.

Too bad, because she’s only featured in a handful of scenes and then dies. Her death isn’t a major spoiler, at least one that I consider, because she hardly does anything except get in the way for a moment. You don’t even fight her. How lame is that?

Then you have this annoying bastard – Primarch Dysley.

When I think of him, I think of Mitch McConnell.

Old. Disagreeable. Been in power for too long. Always in the way of progress.

Primarch Dysley happens to be as annoying as Seymour from Final Fantasy X, so expect to be overjoyed every time you run into him.

Overall, the story isn’t as bad as you’d think. You just have to pay close attention. The gameplay is far worse than the story. I could easily slip into a coma while playing this game and still make it pretty far.

Music:

Final Fantasy XII saw the departure of Nobuo Uematsu (well with the exception of the pop song “Kiss Me Goodbye”). Final Fantasy XIII continues to head into the unknown without the beloved longtime composer. This game’s score is composed entirely by Masashi Hamauzu, who if you haven’t been paying attention, already partly worked on Final Fantasy X.  I immediately saw how “Saber’s Edge”, the boss theme, is similar in nature to the boss theme of Final Fantasy X.

Final Fantasy XIII made the most radical changes to the score. There are no signature themes from the series. No “Prelude” theme, no “Main Theme”, no “Victory Fanfare” theme. Instead, we get a theme called “Fabula Nova Crystallis”.  It plays frequently throughout the game, and almost acts as Serah and Snow’s love theme. In some portions of the game, some woman is singing along. Yes – this is the first time where you roam around a world in a Final Fantasy game with actual pop music playing in the background – “Sunleth Waterscape” to be exact. Final Fantasy XIII’s music gets pretty poppy.

Not saying it’s a bad idea.

Just.

You got pop music playing in the background now.

“Lightning’s Theme” is pretty sick. Her theme plays during the battles in a rendition called “Blinded by Light” – HA GET IT BECAUSE SHE’S LIGHTNING. SO CLEVER.

But Hamauzu was a good choice – the entire score holds up well and sounds like a movie score, with varying motifs running across. It can be a bit more subdued but that’s how contemporary instrumental music is nowadays, especially with film composers like Hans Zimmer.

 Notable Theme:

“Blinded by Light”

Really epic, unique song. I always scat along to it as it plays.

Verdict:

Uff. 

Look, if you just search on YouTube for all the cutscenes, there you go. That’s the game. And it’s entertaining to watch. But it has the worst gameplay that doesn’t feel like you’re even doing anything. No sense of customization or originality.

Direct Sequel?

Yes, two.

Final Fantasy XIII-2.

I started it around the time it first came out, but I’m still in the middle of playing it and I have no idea what’s going on in the story. NO idea. NONE at all. They use time travel but none of it makes sense. Apparently changing things in the future can change the past. I don’t know how. I only understand a vague semblance of a plot with the bad guy Caius. While it doesn’t tarnish the dignity of the original like Final Fantasy X-2 did, it’s still offbeat with its metal (yes, metal) music and utterly confounding story. It’s infamous for this metal rendition of the sweet and innocent Chocobo theme.

Then there’s the third game, Lightning Returns: Final Fantasy XIII

I plan on playing it after I finish Final Fantasy XIII-2, if I don’t already die from an aneurysm by then. It’s supposed to be better than Final Fantasy XIII-2 but lacking in graphics.

[im-the-punk-who]

Hi, I dont know if you read or know anything about Macchiavelli's "Il principe", but I am studying it in school and I cant help but compare it's fundamentals to how Flint leads. I'm just curious about what you think

Eekekekekekekekekekekkek okay so first off Anon, you are absolutely, 100% right to be getting those vibes. If it’s not actually textual it is at the least meta-textual that Flint ascribes to a very Machiavellian type of leadership. His whole ‘never was there a Caesar who couldn't sing the tune’ speech is...licherally a direct reference to Machiavelli's philosophy that leaders cannot retain their leadership without sacrificing some level of ethical behavior in order to manipulate and deceive their subjects into following them.

And, Flint owns at least two books from thinkers who drew directly on Machiavellian thinking in their texts: De Jure Belli Ac Pacis by Hugo Grotus and The Leviathan by Thomas Hobbes are both visible in Flint’s cabin, and both drew heavily on the type of leadership principles established in books like Il Principe. 

(Also, my eternal quest for the book that sits *under* The Leviathan in that scene remains. Y’all I will literally pay someone for this knowledge. My best guess is Plato’s De Republica.)

In fact, the whole system that Flint’s world was operating under at this time was very machiavellian in influence. 

Henry VIII, who converted to Protestantism and who would eventually lead England in the conversion from Catholicism to Protestantism that would then in turn eventually lead the country into the War of Spanish Succession(the war being fought during the London 1705 flashbacks), was a student of Machiavellian thinking. He took the teachings of Il Principe to heart and used them to transform his country. Over the next hundred and fifty years, England would change from an entirely Catholic country to a Protestant one. Of note, Catholic scholars generally disagreed with Machiavelli’s principles on the grounds that it did not support the Divine Right of Kings.

As well, the Enlightenment thinkers that influenced Thomas Hamilton(and Flint himself) were starting to argue more for personal liberty and choice of the governed, both concepts presented in Machiavelli’s writings. (For those following along, this approach was also being used to justify slavery, as what was ‘good for the state is good for the man’ was used as justification for everything from impressment to colonization and slavery. Men were willing to set aside their morals for what they justified as good for the state. Shrug emoji.)

As James says of England when he and Thomas view the hanging in London:

“You think Whitehall wants piracy to flourish in the Bahamas?”

“No I don’t think they want it but I think they’re aware of the cost associated with trying to fight it. And I think that that sound travels.”

Here we see that Flint knows what Thomas doesn’t or does not want to accept: that England is willing to sacrifice some morality and some amount of lives(both of pirate-prisoners and the ships they take) in order to save themselves the financial burden of rooting out the causes of piracy. The justification for piracy was that it is too costly to fight, and that the nation ultimately benefits from a bit of strife as it drives prices up and allows England to place within the sights of its citizenry an identifiable enemy. (Note that Blackbeard also argues the same of Nassau, that prosperity ‘made it soft’.)

Even as he is changed by Thomas’ line of thinking, this lesson will stick with Flint and we’ll see it over and over again as he deals with the men’s hatred of himself by redirecting them towards other avenues(Vane, Hornigold, England, etc.)

And in actuality, this is what sets Thomas very much apart from his political brethren - he was *not* willing to sacrifice his morals in order to achieve a ‘more effective’ victory. Once he realizes that moral deficit shown by England, he creates the pardon plan to argue directly for a more moral and just way of governance. His whole premise for the pardons was to show England that an approach that considered the needs and wants of the governed was ultimately more effective, both in cost and in gaining the genuine good will of the people. And again, this is another likely reason why Thomas was then targeted by Peter Ashe and his father. Railing against the entire system of government was dangerous. Particularly if one was railing against the government in a way that could be seen as support of an opposing system of religion and political rule(remember how I said before that Catholics were generally against the Machiavellian systems?) Put plainly, Thomas’ rejection of Machiavelli’s leadership tactics would have been yet another argument for his treason against the crown.

Interestingly also, Marcus Aurelius - Thomas Hamilton’s homeboy - is said to be one of Machiavelli’s five “good” emperors, of whom Machiavelli wrote,

“[they] had no need of praetorian cohorts, or of countless legions to guard them, but were defended by their own good lives, the good-will of their subjects, and the attachment of the Senate.”

How we tryna be.

And so we see that Flint has - not so much fallen back into England’s line of thinking but perhaps that he never really fell out of it. And that this is actually a rift in his potential ability to conform to Thomas’ line of thinking, assuming we see that line as more morally correct. We do see Flint, gradually, throughout the course of the show, move more away from this Machiavellian line of thinking, especially once he meets Madi and the Maroons.  And to me at least it’s one of the most important character shifts we see - in contrast to the trajectory of John Silver becoming Long John Silver  - throughout the series. Just as Flint is finally starting to really value the lives of those around him, Silver has learned how effective those tactics can be in achieving his goals. As Hands says - ‘I wonder if he knows how much you learned from him.’

And in fact, Silver almost directly quotes Machiavelli at one point when he talks to Flint about their different leadership styles.

“I once thought that to lead men in this world, to be liked was just as good as being feared, and that may very well be true. But to be both liked and feared all at once, is an entirely different state of being in which, I believe, at this moment, I exist alone.” 

Whereas Machiavelli in his chapters addressing cruelty and mercy writes

"Here a question arises: whether it is better to be loved than feared, or the reverse. The answer is, of course, that it would be best to be both loved and feared. But since the two rarely come together, anyone compelled to choose will find greater security in being feared than in being loved." 

This is clearly the approach Flint has taken - he is the most feared captain on the seas. Certainly in the colonial world and on Nassau, too, his name brings a certain amount of fear with it. Because of this he has been safe from rebellion for quite a long time - however he is also not unaware that his power comes from the people. In the very first episode he talks of his plan with Gates to “position people in all the right places so the crew would never turn.” He has, for an unknown amount of time but I would suspect from the very beginning, been manipulating the crew’s opinion of him to keep them happy. Gates himself, and Silver later, are prime examples. 

Both of them; Gates for the first ten years or so and Silver in seasons 2+3 act as a go between - being the ‘liked’ to Flint’s ‘feared’. They convince the crew - the ‘people’ in this case - that Flint’s plans are in their best interest and not truly the act of a tyrant. It is only when Flint forgets - or neglects to respect - that the will of his crew is how he keeps his power, that he really starts to fail. And, later also, that now he has a rival - Silver. 

Now, I do want to point out that personally I don’t think Flint is a needlessly cruel ‘ruler’ in the sense the crew sometimes thinks he is, nor is he trying to be as a king is to english subjects. He has power, of course, and he does manipulate, lie, and kill if necessary to maintain his power in accordance with Machiavelli’s principles, but he does not do so ruthlessly or to a degree that is unnecessarily violent, nor with only his own advancement in mind. His goals genuinely are in service of the people he leads, even if the tactics he uses sometimes put them in danger for it. Moreso, I would argue that Flint is a prince who created his own princedom. He took an existing power structure(the pirate council in Blackbeard, Hornigold etc) and took most of the power for himself, either through luck, violence, or political maneuvering. And then he kept it through skill and tactical advantage.

Silver, in contrast to Flint’s new princedom, is truly a ‘prince of the people’. He comes to power through convincing the other pirates that he has their interests at heart - even when he doesn’t. But Silver soon learns that being a well-loved leader is difficult. It isn’t until Silver kills Dufresne and Billy uses that fear to build a legend that ‘Long John Silver’ the pirate king comes into being. Silver learns, just as Flint knew, that in a world or corruption, often leaders need to make sacrifices of things they would have once deemed important. 

(I think it’s also important to note for Silver that his main goal is actually one Machiavelli writes of as being ‘a will of the people’. Silver’s main wish is not to rule, not really. His biggest motivator is ‘to be free’. To not have to make choices based on the will or subjugations of others. And so, he attempts to make the leadership forced upon him into something that frees him - unfortunately for him, Madi is right when she says that the ‘Crown is always a burden’ and it would be truly impossible for him to find the kind of freedom he wishes for while wearing it. Which, honestly, is part of why he ultimately fails in that regard as leader of the revolution.)

In the later seasons we see Flint go through this change in philosophy after he meets Madi and the Maroons. He begins to actually value the lives of the people he leads. When put to the choice of going through with the raid on the Underhill estate despite the risk it poses to the slaves on other plantations, Flint resists the idea. As he tells Madi - it would have cost them far more to ignore the ‘will’ of those people he hoped to lead - the slaves - than it would gain them to go through with the plan. And later, even though he can’t be blind to Max’s sway with Eleanor and the others, unlike Billy (and oh how the mighty have fallen, Mr. Bones!) he doesn’t even seem to consider keeping her rather than trading her for the lives of his other men. He no longer wants to trade a potential political victory for the suffering of those he leads. So, too, when he attempts to trade the cache for the fort, he is doing so with the goal being to not have to put those under his power in danger if there is another option. It is, at least to me, an incredibly moving character arc and one that is so very understated. 

And honestly, I think it’s what *needed* to happen before he could move on from his rage-hate bender and begin to find the sort of peace that one might argue those ‘good’ rulers had. Machiavelli’s principles tend to get in the way of your ability to connect with other people: when you see them just as pawns in a game, friends and foes lose their intrinsic value of just being important on an emotional level. It is only through learning to truly value his partners that Flint can learn how to be a better and more just leader.

Also, this passage in chapter 15 absolutely KILLS me in regards to both Flint, and Thomas Hamilton:

“Men have imagined republics and principalities that never really existed at all. Yet the way men live is so far removed from the way they ought to live that anyone who abandons what is for what should be pursues his downfall rather than his preservation; for a man who strives after goodness in all his acts is sure to come to ruin, since there are so many men who are not good.”

Like bitch!! We get it!! Too much sanity!!! Shut up!!!!!

Anyway, all this to say that you’re absolutely right in seeing parallels between Flint’s style of leadership and a Machiavellian prince - he is absolutely written as a prince-like leader. As are Silver, Rogers, even the Maroon Queen(and Scott and Madi as extensions of her) can be compared to certain rulers in Machiavelli’s archetypes. Even Thomas, who models himself after one of those ‘good emperors’ engenders a type of political leader Machiavelli writes about.

(Also lastly, i want to very quickly point out this guy, Cesare Borgia:

Who was a prince of ‘fortune’ who lost his princedom to trusting the wrong person. What a beard, amirite? What a face. He’s even got the rings! I’m sure this means nothing.)

So basically yeah, Flint is absolutely a Machiavelli bitch. 

[365days365movies]

May 10, 2021: Blade Runner 2049 (2017) (Recap: Part Two)

Said I’d talk about artificial humans in sci-fi, so...

There are a HELL of a lot of examples of artificial humans in science-fiction, as well as the ethical and philosophical concepts that their existence raises. Now, your definition of “artificial” may differ from medium to medium. At its base form, these are humans that are not born, but made. I’ll be talking fleshy organic humans, not robotic ones. The most common of these is, of course, clones.

A clone, strictly speaking, is a genetically identical copy of a pre-existing organism, in this case a human. While this isn’t technology we’ve applied to humans as of yet (due to the NUMEROUS ethical problems and questions), we have done so with animals, mostly sheep and cats. It’s actually a good way to de-extinct certain species, and we’ve already done experiments with that. Of course...that has its own concerns.

Keeping up the Jurassic Park reference streak! Anyway...

There are a FUCKTON of examples of clones in science-fiction, but since I’m a massive comic book nerd, I’ll use Superboy. The genetic combination of Superman and Lex Luthor, Conner Kent is one of the most prominent clone superheroes. He’s not the only clone of Superman, of course. He’s not even my favorite clone of Superman, to be honest...

Bizarro am the worst. ME WILL LIVE ON THAT HILL.

Oh, and let’s not forget THE most prominent artificial human in comic books PERIOD. I don’t care what her origin in the movies is, that’s never been my favorite version of Wonder Woman. Making her a demigod robs her of something important, in my opinion.

...Should I make a comic book blog? Shit, thinkin’ about it.

OK, before I do that, these are just my favorite examples. Fact is, there are FAR too many examples of artificial humans to go into, whether they’re built, grown, sculpted, conjured, or a chemical reaction with an extra ingredient in the concoction.

And look, I could go on all day about this, but we got a long-ass movie to get back to. SO, lets jump back in. Part One is here!

Recap (2/2)

Understandably exhausted, K returns home, confused and conflicted. However, he’s greeted with a surprise from Joi: a prostitute! Namely, this is Mariette (Mackenzie Davis), one of the girls who approached him earlier. Joi’s called her here in order to be “real” for K, the effect is impressive, if somewhat...off-putting. Still, while K obviously didn’t need this to be happy with their relationship, Joi might, and Mariette’s all on board.

And it doesn’t take K terrible long to get on board, either. As both Mariette and Joi strip, it makes me wonder...how much does this subscription service for Joi cost. There’s no goddamn way this is free, right? Like, how exclusive IS this AI? And they cut from that scene to a Joi commercial, where we hear that Joi becomes anything you want her to be, and does anything you want her to do. But something tells me that...well, that it’s not quite so simple.

Once the night is over, Joi tells Mariette to leave, and not nicely either. Mariette leaves, rebuking her on the way out as well. K, meanwhile, knows that the Blade Runners will soon be coming after him. He’ll be going on the run, and Joi wants to go with him. And so, they put her inside of a remote device, while deleting her information from the main apartment console. This gets the attention of Luv, who head over to the apartment to figure out what’s going on.

K goes to Doc Badger (Barkhad Adbi), who analyzes the horse for him. It’s discovered that old radiation can be found there, and that amount and kind of radiation can only be found in areas where a dirty bomb has been set off. This would be in the desolate and weird-ass ruins of Las Vegas. While nobody lives there at this point, K and Joi go to check it out.

An IMMENSELY frustrated Luv, unaware of K’s discovery about himself, goes to confront Joshi about K’s whereabouts. Luv berates her for being afraid of change, and tells her that she “can’t fend off the tide with a broom”. Which is a great line. However, as Joshi is no use to her at this point, Luv just straight up kills her. Which, I’m sure, will go over well with the whole “Replicants aren’t dangerous” thing.

Meanwhile, in Vegas...shit is WEIRD. First off all, the desolate wasteland is full of statues of giant sexy wimmin, and I mean GIANT statues. Beneath one of them is a series of beehives, which K goes into to get a hand of beeeees. After that, he goes into an abandoned hotel/casino, rigged with tripwires and booby traps. OK. What.

So, somebody’s using this place as a hideaway, despite the entire city being destroyed by a dirty bomb, and probably extremely radioactive. K searches around and finds it empty. He begins to play a piano, hoping to draw someone out. He ends up drawing out a dog, as well as the inhabitant of the hotel.

Rick Deckard (Harrison Ford), baby! Quoting Stevenson’s Treasure Island and holding K up at gunpoint with dog at side is the original Blade Runner himself, Rick Fucking Deckard. God, I love this. Deckard hunts K down throughout the casino, where we see some trippy holograms, and the future of Vegas stageshows (probably).

The two fight, but eventually call a truce and decide to get a drink at the bar. K gets to it pretty quickly, and confronts Deckard on his potential child with Rachael. He confirms that Rachael was indeed pregnant by him, but he had never met his child. Which was the plan, to be fair. He wanted their child to be protected, not hunted down and eventually dissected.

Sometimes, to love someone...you gotta be a stranger.

To an old Frank Sinatra song, a forlorn K (now calling himself “Joe”) looks around, and sees carved wooden animals that resemble the horse that’s haunted his life and memories so much by this point. Which makes sense, considering the foil unicorn from the previous film. Neat little tie-in there.

But paradise is not all it’s cracked up to be, as someone soon comes to find both K and Deckard, despite the fact that K came alone. Although, now that I think about it, Joi may not be one that you can truly trust. Deckard and K try to escape their pursuers, but are caught pretty quickly. In the process, K is injured, but manages to get up in order to fight back. However, this is Luv with these people, and she beats K down EASILY. Turns out that Luv is actually an enforcer, rather than just a secretary. And when Joi awakens from K’s device to ask her to stop, well...she kills the device, and she kills K. In the process, she also takes Deckard away, leaving K behind. Fuck.

K wakes up, only to discover Mariette standing over him in the Las Vegas wasteland. She takes care of him as he wakes up, also stitching up with wounds from the explosion. She tells K to trust her, as well as her compatriots. One of them is the hooded woman from earlier, a Replicant named Freysa (Hiam Abbass). An old friend of Sapper’s she saw the delivery of the child, the “miracle”, and also hid the child away, as it was a symbol that the Replicants are more than just slave, that they are their own masters.

Freysa is building a revolution in order to free the Replicants once and for all. And I’m hard-pressed to disagree with their cause, not gonna lie. However, this comes at a price. In order to prevent Wallace from killing the cause, K must prevent Deckard from leading them to Freysa. They must do what they can until they can reveal the child to the world. For she will be their leader.

Fuck.

Understandably COMPLETELY crushed at this revelation, and more confused than ever, K collapses. Freysa tells him that they ALL wish they were the one, and they all believe. It’s at this point, that K realizes exactly who the Hybrid is: Dr. Ana Stelline. The horse from earlier, it turns out, did in fact belong to her, and she planted her childhood memory with the horse in K’s mind as a Replicant. Damn. DAMN! That’s why the memory moved her so: because it was hers.

Meanwhile, Deckard awakens to a separate nightmare: Jared Leto telling him how he feels about him. After all, Deckard helped to create the first Replicant-human hybrid. He asks him for his help in obtaining the child, so that the key of Replicant reproduction can be further unlocked. And he proceeds in convincing Deckard by playing audio of Rachael and his first meeting (from the first film, of course).

Niander fucks with him further, by suggesting Deckard was summoned all those years ago specifically to fall in love with Rachael in order to father a child with her. But despite all of this, Deckard refuses to give up any of his information. And so, Niander pulls out his ace-in-the-hole...and it’s a real shitty thing to do to a man in mourning. 

Damn. Dude rebuilt Rachael, tries to tempt Deckard with her, FAILS, then lets Luv shoot her in the head. Fucking power move, and fuck Niander for playing it. Dude is a DICK. Meanwhile. that one visual from every single ad of this movie is happening, and I can FINALLY use one of the 8000 GIFs of it, goddamn.

Not gonna lie, it’s an iconic appearance, so I get why it’s so famous. Anyway, K considers a suicidal option, now that he knows the truth. However, before we get to see the final decision, we get to see Deckard being taken back to LA for interrogation by Wallace. However, to prevent him from potentially leading Wallace to the secret of Ana Stelline, K suddenly appears, opening fire on their ship.

The craft is downed, and K exits the car to engage in a firefight with Luv. He appears to win, but Luv isn’t killed once she’s shot. The two have a fistfight out in the rain, and Deckard waits for water to slowly kill the craft that he’s still inside of.

As expected, Luv handles herself well, and despite a number of close calls, she JUST. WILL. NOT. DIE. Damn, she’s resilient. However, despite K, Luv, and Deckard all nearly drowning in an INTENSE fight between the Replicants, an enraged and crazed Luv finally eventually drowns, ending her threat for good. 

K saves Deckard from the sinking ship, and agrees to stage his death, allowing him to meet his daughter for the first time. Once at her facility, K returns Deckard’s horse to him, knowing that it was a gift from him. He tells Deckard that his best memories all come from her, implying that this makes him similar to Deckard’s son, which he picks up on when he asks if he’s OK.

Deckard goes to meet his daughter, and K hangs out on the stairs outside. He feels the snow fall on his hand, and he just...watches it all fall around him. He sits, and he watches it all. And meanwhile, Deckard meets his daughter for the first time.

...Can I just say...GODDAMN!

That movie was absolutely stellar, and it’s definitely landing in the high ‘90s for me, calling it now. I...wow. Seriously. Amazing.

See you in the Review!

[a-crimson-lion]

My Thoughts On Chapter 257 and Why I Think The Bakudeku Dynamic Is Still Fundamentally Broken

[Spoilers and Bakugo-Bashing ahead. Long post. Avoid if you don't want to see.]

Look, I can kind of see why people enjoy the idea of Izuku and Katsuki making up and being friends again after all the crap Katsuki did. Honestly, if Horikoshi had set it up right, I might have been rooting for them, too. Of course, I don't root for it, because I don't see much improvement in the dynamic, especially on Katsuki's part.

Before I get started, remember: if you like the dynamic between Izuku and Bakugo, that's fine. This post probably isn't for you, and that's fine, too. I'm not writing this post to attack anyone personally, but if you feel offended, feel free to ignore this post and go about your day. I'd like it if we could be respectful of one another's opinions. Sound good? Good.

Now, let's begin...

So the big thing in this chapter (257 chapters, dear God...) is that we're finally learning a bit more about the OFA Holders. For starters, we now know the Black Whip user's name: Banjo Daigoro (heads up, the "Go (五)" in Daigoro means "Five," continuing the trend of OFA Holders having their wielder number in their names). We've also learned that Nana's Quirk was "Float" or "Levitation," which makes a lot of sense.

(I mean, Flight is one of the most iconic superpowers besides super strength, and since Nana is Izuku's metaphorical grandmother, it's incredible for her to be using such a by the book super power. Plus, it only compliments her friendship with Gran Torino, another hero with a flight Quirk.)

I'm rambling at this point. As intriguing as the Quirks of the previous holders is, my attention (as well as other readers' attention) was pulled towards Katsuki. Most say that the relationship between Katsuki and Izuku was adorable in this chapter. Others say Katsuki was a gremlin, but they still love him for it.

Well, pardon my pessimism, but if I'm using the phrase right, it looks like I'm gonna be playing devil's advocate.

[Keep in mind, the official translations haven't dropped yet, so this might screw up my analysis a bit.]

There's another meeting about OFA between Izuku, Toshinori, and of course Katsuki. Toshinori talks a bit about how he couldn't find everything for the previous holders, and what does Katsuki say?

If you don't know it then just leave it at that, I'm waisting my precious time on you guys.

There are a handful of other rude/passive-aggressive ways Katsuki could have phrased that. He could have made it sound like "That's nice and all, but could we skip to the important stuff?" But no, even though this information is crucial to Izuku, even though Katsuki has every right to just stay out of the room since the conversation won't benefit him, he says they're wasting his "precious time." Once again, Katsuki is being self-centered, but that isn't anything new.

A little later, Katsuki is taking a loom at the notebook, and he remarks that all the Quirks Izuku got must have been lame. Katsuki is immediately writing the Quirks off just because they aren't upfront with their badassery. Izuku appreciates all Quirks because he wasn't born with one, but Katsuki only appreciates strong Quirks because that's what society and his own self image have taught him up to this point.

Think of it this way: A man with diamonds can't understand why a man is happy with silver, but a man with nothing understands the value of both.

Katsuki's Quirk is admittedly versatile and efficient, and I can respect the work he put into it. However, immediately dissing less flashy Quirk's might be his downfall. Characters like Sir Nighteye don't have "powerful" Quirks, but are still capable adversaries thanks to how they use them in tandem with their other abilities. Foresight might not be a powerful Quirk in a fight, but Nighteye's own strategy, deceivingly ripped physique, and his high-density stamps help round him out as a capable opponent. We've seen Izuku utilize Black Whip in ways which can be definitely declared badass. Even Nana's Quirk can be used in incredible ways, especially considering Izuku's strategy and relentnesses.

Speaking of Nana's Quirk, here comes the part I hate the most...

Lots of readers talk about how Katsuki and Izuku's dynamic has grown a lot since their middle school days. That's not to say the statement isn't true, because there has been some growth, but I feel like most of it is exaggerated. Katsuki and Izuku haven't had an introspection (or at least a meaningful one) on themselves where they've come to grips with their faults and have vowed to change for the better. Izuku doesn't stop to think that maybe Katsuki shouldn't have treated him the way he did since they were kids, because Izuku's more concerned about heroism, mastering OFA, and (ugh) proving to Katsuki that he'll surpass him, being his image of victory. Katsuki hasn't really thought about his actions aside from that one time after the Provisional License Exams that ultimately amounted to nothing. It's been said time and time again by several in the fandom that Katsuki hasn't really changed, and for as much growth (or lack thereof) as he's had throughout the entire course of the series, the statement is not without merit. Case and point: the very first thing Katsuki spits out to Izuku when All Might reveals Nana's Quirk?

I WON!

He's more concerned about his own image and pride then about Izuku's progress. He's already got flight down, so instead of leaving it at that or (highly unlikely) offering to help Izuku figure out the whole flight thing, he decides it's a great thing that Izuku will waste his time learning something Katsuki already knows so Katsuki can make sure he can beat Izuku yet again. He's not adding anything to the conversation, and while Izuku isn't personally bothered, Katsuki's next words are not okay, even if they're relatively tame.

Before you tell me that Katsuki is just trying to encourage Izuku or something like that along those lines, let's take a look at their proceeding dialogue:

T-that's not true! I'll just master it and catch up to you!!

You're just going to panic again! Explode and go to Hell!

Buy I managed to get the gist of Blackwhip, so...

DIE!!

No hesitation...!

...Katsuki is not being encouraging in any way, shape, or form. He's being discouraging; in spite of Izuku's protest, Katsuki insists that Izuku is going to crash and burn once more. Never mind that Izuku isn't bothered by it, what Katsuki is saying is not okay. No one can be the best but him, so no one can improve... including Izuku. Forget about Izuku's previous feats, forget the fact that he learned to use the base Quirk without damaging himself AND a second Quirk in less than a year. As long as Katsuki can pull ahead, stupid Deku won't be able to catch up and he'll prove that he'll forever be the best.

...can you feel my frustration with this character?

And then there are the panels where Izuku looks like he reading the journal, and Katsuki is making a gremlin face while make the "kill" gesture across his neck, and All Might's looking at it like it's something precious. Other people called this scene adorable, but for me, it only proves that Katsuki hasn't changed and WHY he hasn't changed. He still treats Izuku as someone lesser instead of as an equal; he might not be Quirkless anymore, but for Katsuki, Izuku just another extra to surpass. And then Izuku tries to be civil with Katsuki, but... the boy really does not care about him. And then people like All Might don't know the full depth of their relationship and consider this a massive improvement, and see no reason to confront Katsuki or Izuku about their issues.

Seriously, the narrative is so contrived in Katsuki's favor, I'm losing hope that Horikoshi will ever try to fix it properly.

And before you give me Izuku's whole spiel about:

I never thought the day would come where I could speak so naturally with Kacchan.

NARRATORS! CAN! BE! BIASED!!!

Just because Izuku is the protagonist and overall honest does not mean his views/relationship with Katsuki are ultimately well. I'm not saying he's an unreliable narrator, since he hasn't really gone to Delusion City as he's told us the story, but it's very clear that he doesn't give Katsuki's actions too much thought. Him suddenly being able to talk casually with Katsuki is not a major feat: EVERYONE ELSE can casually talk to Katsuki just as well even if his personality is, quoting Denki, "flaming crap mixed with sewage." At this point, I'm just tuning out all the times the narrative tries to claim that Izuku is completely mentally sound, or that Katsuki has made significant progress.

You can keep shouting it from every roof top you want to, but unless you're showing CONSISTENCY, you're not showing substance.

So, TL;DR This chapter continues to push the Bakudeku rival dynamic while instead showing how Katsuki has ultimately barely changed and is continually enabled by other characters and the narrative to continue his behavior because virtually everyone around him has an abnormally high tolerance for his bulls***.

That's all I can write right now. Thank you for reading.

-Crimson Lion (18 January 2020)

[pochapal]

I hate doctor 11 but ive never been able to explain why in like words lmao. He feels like such a mary sue character imo and like theres something about his characterisation that was always just really ineffective (like the stuff about fishfingers and custard or whatever it was). Imo i'd love to hear you give top 5 worst things about the 11 era because i rlly just love when it gets torn apart

i hold nothing but a seething contempt and loathing for that man. every time he appeared on screen i felt ready to snap like a riled up chimpanzee in my enclosure. i am frothing at the mouth and overcome with a desire to start flinging heavy objects. this might be incoherent and inconsistent but i started this rewatch in feb 2020 and only finished this week so i got through 11′s episodes last august/september time and i refuse to revisit it to jog my memory or fact check anything i’m saying here because this man does not deserve the space in my mind for that.

the first thing is i can’t fucking STAND the quirky whimsy timey wimey bit he has going on all of the time. i can’t even say this is because this is a kids show and i was a teen and then adult when i first properly watched him but actually!! when i was eleven years old i’d sleep over at a friend’s house most weekends and it always coincided with the airing of a new season 5 episode and i remember we watched the finale with the dumb time hopping to get out of the box prison that was never explained and didn’t make sense and i thought at the time “this is really stupid”. and before that my only other doctor who exposure was watching the david tennant christmas specials with another friend and throughout childhood my only opinion on doctor who was “this is a tv show that is not for me but is one that all the boys i am friends with like so i will put up with it to maintain our friendships” but at least those episodes were both suspenseful and engaging enough to keep me watching all the way through. like who the fuck does an end of the world sci fi plot and approaches it with an “oopsy woopsy i am a funny little alien man who is going to stop you all by making you do a hecking silly” like it’s unneeded and self-parodies an already cheesy show to the point where it becomes unwatchable and makes it impossible to ever take this man seriously.

next thing that downright sucks ass so badly is the stupid fucking overwritten constantly escalating plotlines. like everything from season 5 up until his regeneration at the end of season 7 is meant to be this grand interconnected cosmic plot about how...the doctor trying to bring back his planet will end the universe or something so all the top powers across all of reality tried again and again to stop him from doing that except he doesn’t know what’s going on so he keeps thwarting these people who supposedly mean good?? i mean i sure don’t fucking know what they were trying to say!! like for some reason we never get the doctor suddenly becomes this superdemon that threatens everything so these people (whoever they are) decide to, in sequence: suck him through a time rift to erase him from existence, trap him in a prison and remake a universe without him, take his companion’s baby and turn her into a perfectly trained doctor killer, form two(!!) secret societies to hunt him throughout history that are only stopped by his companion splintering herself across his personal timeline to protect him, and repeatedly cause reality collapsing events because it’s a kinder outcome for the universe than what he will do. this grand and terrible event turns out to be...he spends a few hundred years chilling by a rift that leads to his home planet and protects a few generations of children from monsters which convinces them to give him infinite regeneration power then fuck off back to their pocket universe. and it’s like!! what is the point of anything that happens in this man’s era when everything is always “the darkest moment” or whatever the fuck!! i don’t care!! we never get a compelling reason to believe this bumbling clown of a man could ever be a universal threat!! the whole thing is so dumb i hate it!!!

thing number three i hate is how the eleventh doctor is ALSO characterised as this abrasive egotistic male supergenius to the point where he becomes genuinely indistinguishable from bbc sherlock. genuinely who enjoyed seeing this guy constantly tell people their tiny human minds can’t comprehend what he’s doing and then basically just wave his magic wand to solve whatever problem each episode is facing. 2012 is the year of human sin because this fucking shitsmear character archetype somehow became both a redditor role model AND a tumblr sexyman and it’s like!! nobody is enjoying this stop making this seem cool! him saying timey wimey thing any time he does anything is frustrating and dumb and locks the viewer out of giving a fuck about anything that is happening! smartest man in the room syndrome is a disease and the eleventh doctor is terminal with it. like remember how they established river as an accomplished scientist (when she wasn’t being a child soldier or a time paradox or whatever the fuck) and every time that came up mr doctor eleven man was like “oh this thing is obvious because i’m a genius and you didn’t realise because your brain is tiny so get out of the way and let the grownups think” or that time it turned out amy had been replaced with a slime clone for half the season and the doctor chewed rory (audience surrogate) out for somehow not realising this fact we didn’t know right from the start and like. this served no purpose other than to draw into severe question why the doctor is also this super beloved magical figure implicitly trusted by all children everywhere like. mr steven moffat is totally allergic to writing and solving mysteries in his tv show and fuck you for wanting to figure things out as you go along based on the new evidence you uncover at strategic plot intervals just let this asshole man use magical thinking to reveal he knew the answer all along and you’re a fucking idiot for not also realising this thing which had no basis or precedent anywhere else in the show.

speaking of dumb things let us not forget the absolute shitshow that was minority representation in this era. i’m not even talking about the low hanging fruit of how genuinely unironically sexist amy and clara were written where each episode moffat either seemed to loathe them or was incredibly horny over them and they had no character growth or arc or fucking anything. i’m talking about how fucking shit terrible the incidental representation was. god remember how every single fucking gay person who appeared in this era was written as one incredibly fucking stupid joke and how the women were all either sexy dominatrix, feeble girl in love, or Mother (or all three in some really terrible cases) and i’m not qualified to talk about this but also how incredibly white this era was and how on two separate occasions we had monarchs reimagined as sexy girlbosses with a gun played by black women who the doctor leched over. nothing about any of this was good ESPECIALLY coming off the back of rtd who was surprisingly forward thinking for 2005 and did a really good job of positing travel with the doctor as queer allegory. in comparison moffat gave us THE MOST heterosexual shlock i’ve ever had to endure. amy and rory could have been interesting characters were they not hemmed into this domestic bickering young straight married couple bullshit that was in no way changed or altered by traveling with the doctor except for the quasi incestuous river song reveal that was dumb and bad and stupid.

the last major mega gripe i have with the series is moffat’s fucking jingoistic boner for british military aesthetics. this carried over throughout his entire tenure as showrunner but was super terrible vomit inducing in eleven’s era. the unironic admiration for ww2 britain and winston churchill is downright wretched. are you incapable of telling a second world war story outside of churchill’s london and plucky blitz fighters. shit gives me hives so badly. and then!!! that weird church owned army that features in the future that end up being bad not for the concept of what basically amounts to an imperialistic intergalactic rendition of the fucking crusades but because they’re part of the nonsense go nowhere puzzlebox narrative that says the doctor is a not good man who will do bad things to the universe :(. remember how rtd’s doctor was a freshly traumatised man hot off the war criminal press who time and time again vehemently refuses to engage in military violence, but who tragically inadvertently turns every one of his companions into soldiers in his own personal army, and he has this moment of complete horror at the realisation and it is this which causes the downward spiral that ends in 10′s regeneration. and then how there’s this cringe line about how there’s a force of people who are “the doctor’s army, always ready to fight his battles when he’s not around” or some shit and then it turns out this is actually massive literal military operation and we’re meant to celebrate this. fuck off.

bonus round because this needs to be said but i have never hated anything like i hated that fucking human tardis episode. everything about it induced violent anger in me from the sickening overindulgence of that softgoth dark whimsy helena bonham carter tim burton aesthetic to the bafflingly terrible evil carny stereotype of those junk scavengers to the overblown sudden tragic shipbait romance of human tardis and the doctor. every word out of her mouth was trite shit and the fact that the death of her body was presented as this super emotional dramatic scene despite there being no buy in or incentive to care and the fact that every single person on tumblr in 2012 ate that shit up like it was fucking gourmet. i loathe every single thing about that episode so much.