#it's such a great fight and it does so many interesting things with characterization

[silverwhittlingknife]

Hi! Thoughts on Dick and Tim during Murderer/Fugitive, and their argument over whether Bruce killed Vesper?

(My interpretation was that to Dick, Robin means not only unwavering loyalty to Batman, but unwavering faith (“I’m dismayed that there can be a Robin who believes Batman could be guilty of murder”)— whereas to Tim it’s more about having faith in the symbol and the mission, not the person)

Tim (suspicious that Bruce has emotional blind spots and is about to get a case wrong): Nightwing. Channel Two. Go discreet. (Gotham Knights 1)

Dick: I don't - I don't see how you can say that and still wear that uniform... Tim: The guy who gave it to me–the guy who wore it first–HE taught me never to back away from any possibility that might lead to the truth. And he still believes that… right? (Gotham Knights 26)

Ooh, look, it’s one of my favorite comics of all time. <33

Yeah!!  I think hmmm.  Both Dick and Tim are intensely loyal to Bruce and they both care about him a lot.  But they do think about their loyalty to him in very different ways.

Also tl;dr I am biased here but also I am right dsfsfs - although I do think that Tim's loyalty is kinda to the symbol, I also think a big part of the issue here is that Tim's more unambiguous personal faith is given to Dick, not to Bruce. When Dick says, How can you wear that uniform and not have faith in Bruce, Tim answers, essentially, I wear this uniform because I have faith in you. Which is not what Dick wants to hear!

I had SO MANY THOUGHTS about this, so below the cut:

Dick and Bruce and the importance of faith

Tim and Bruce and the importance of doubt

More rambling Dick-and-Tim-and-Bruce thoughts

Dick and Bruce and faith

Dick’s notion of loyalty is pretty firm: “It's no secret Batman and I have had our... issues. But I won't be involved in anything that hurts him.”  His connection to Bruce, from the very beginning, is all about their shared sense of mission: the oath in the candlelight. Dick’s got this intense loyalty that he feels he owes to Bruce, and he feels betrayed when it seems like Bruce isn’t reciprocating, because as far as Dick’s concerned they owe it to each other.

I think you owe me an explanation, Bruce. ... We were the Dynamic Duo, don’t you remember? / If Bruce Wayne doesn’t exist, who am I the son of? / I know you have to live through restraint. I understand how brevity is your moral compass. But why lie to me, of all people? Why would you lie to me. ME. ... I trust you more than anyone. / I've trusted Batman with my life since I was eight. / On top of everything, he's my father now, too... I want to hit people just for thinking bad thoughts about him.

Dick’s first experience of Bruce is fighting by his side.  He initially conceptualizes his role of Robin as about being steadfast partners to each other, and although he'll sometimes later recategorize it as a kid's role, that doesn't change the way he thinks of his own relationship to Bruce: partners, no matter what.

Dick fights with Bruce a lot - he'll pick a physical fight in this very arc! He's not afraid to stand up to Bruce! He wants to be independent and bristles when he feels bossed around or ignored or when Bruce is dismissive or doesn't listen or doesn't call on him for help! But paradoxically, he stands up to Bruce because he has faith in him. Dick respects Bruce enough to confront him and he expects Bruce to offer him the same respect in return. He'll pour out his heart to Bruce because despite everything, some part of him expects Bruce to have an answer, to step up, to be the person Dick's determined to believe he can be.

Tim and Bruce and doubt

By contrast, Tim initially interacts with Bruce like a detective stalking a criminal.  He collects newspaper reports. He follows Bruce and takes photos of him and gathers evidence to present to Dick. He goes to talk to Dick, not Bruce, about Bruce’s problems—and Tim will pretty consistently continue to talk about Bruce to Dick (or occasionally to Alfred), to work behind Bruce’s back, to be frank with Dick in ways that he’s not frank with Bruce.  Tim’s often at pains to insist that he does respect and care about Bruce, but one of the reasons he has to keep insisting this verbally is because his actions and assumptions suggest a lack of trust.

Tim’s first experience of Bruce is of someone who could be a knight or a monster, who needs help and intervention, who can be loved but not entirely trusted.  Someone who isn’t gonna be okay on his own; someone who needs saving and fixing; someone whose sense of himself can’t be entirely trusted or listened to.  Batman needs a Robin.  No matter what he thinks he wants.

In New Titans 71, Wolfman writes Dick musing about Tim as a Robin and how he’s different from Dick himself, and thinking, “He questions more.”  Much later, in Teen Titans/Outsiders, Kory will note the same difference.  Which is a funny thing to write given all Dick’s fights with Bruce—but I also think it’s a true insight!  Tim’s default is questioning.  Almost his entire tenure as Robin is spent as Bruce's apprentice, not his kid, and that affects his attitude a lot. He never takes his trust in Bruce for granted.  It’s carefully considered—and it could be revoked.  A part of Tim is always judging and measuring Bruce, deciding which qualities he thinks are admirable and which ones not so much, what's worrisome and what's not, analyzing whether Bruce is looking after his health or not, etc etc.

You have to promise me something. You'll listen to Alfred and at least call it a night and give yourself a chance to heal. / How many times are we going to have this conversation, Bruce? You died tonight. For almost two minutes you were dead. / Maybe Batman doesn't need to know about this. / He's a hard guy to get to know. / I have friends. He has... associates. / Bruce has been on the job the longest. It’s slowly driven him mad and eaten the human part right out of him. / My boss - my teacher is gone, gone as in fled, but also gone out of his head. And now he may be a murderer as well. / I think maybe Batman has gone crazy. / Don't like the risks he's taking. Don't like the way he spoke to me. I hope it's the concussion talking. I don't want to think his edge is coming back.

It’s not that Dick never worries about Bruce in this way.  He does!  In the arc right before Lonely Place of Dying, his inner monologue compares Bruce to an alcoholic. And IMO it’s strongly implied in Gotham Knights 26 (the Dick-and-Tim fight about Bruce maybe being a murderer) that one of the reasons Dick is so forceful and so upset by Tim’s suggestion is that he’s suppressing his own private doubts.  Tim’s dragging into the open something that Dick is refusing to look closely at.  Dick's faith is an act of will—if I’m going to be Bruce’s ally, then I can’t believe he’s capable of this.  I can’t allow myself to believe it.  And if I believe he’s capable of it, then I’m not acting as his ally anymore:

Dick: "I think it’s… admirable that you can continue serving a system in which you have so little faith. But I can’t. I can’t, Tim. I cannot believe that Batman is guilty of murder. I do not believe it, and I will not believe it. And I can’t stand with anyone who does."

You don't get this upset about somebody saying that the Earth is flat, you know? Dick's not laughing the accusation off; instead, he's drawing a hard line - I will not consider this. I refuse to go there. The topic is off-limits.

(In the same comic, you've got a similar fight going on between Alfred and Leslie with similar stakes - Alfred refusing to believe it but clearly harboring secret doubts, Leslie openly suspicious.)

General Dick-and-Tim-and-Bruce thoughts

Tim to friends: "I lie to Batman" (Teen Titans 3) Dick to Bruce: "But why lie to me, of all people? Why would you lie to me. ME." (Outsiders 21)

It’s always been Tim’s instinct to strategize around Bruce rather than with him. Tim will lie and circumvent Bruce’s orders, whereas Dick will disagree to his face.  Dick respects Bruce enough to give him his say and argue back, whereas Tim tends to think of Bruce as an admired-but-unstable figure who you sometimes listen to but sometimes plan around.

And I think you get the core of that in this arc!

Tim voices his concerns pretty frankly to Dick, but is way more circumspect in front of Bruce, because he doesn't entirely trust Bruce - Tim thinks "is Bruce stable and trustworthy" is "a decision that Dick and I will make in consultation with each other," not a decision that Bruce can make.

In the past, Dick has basically gone along with this kind of thing - he and Tim gossip about Bruce a lot! So it's not surprising that Tim's first thought is that they can confer on it again. But when it becomes a question of "is Bruce murderous, criminal, immoral," then Dick's loyalty kicks in. That's too serious an accusation for Dick to feel entirely comfortable talking about it behind Bruce's back.

Generally IMO, how Dick conceptualizes his loyalty tends to vary a lot depending on who he's talking to. So e.g. in general, Dick's more likely to gripe about Bruce to Tim than he is to gripe about Bruce to the Titans, because he knows that Tim basically likes Bruce. Tim's Robin! Dick takes for granted that Tim is loyal. So it's not disloyal to complain about Bruce to Tim, because Dick and Tim are both on Bruce's side. Dick complains to Tim about Bruce abruptly summoning them into No Man's Land, but doesn't share the same complaint with the Titans. And that's because the Titans aren't friendly toward Bruce in general, and so bitching to them would be disloyal, would be airing dirty laundry outside the family.

By contrast, Tim's a safe audience... until you end up in a situation like Bruce Wayne: Murderer, when suddenly it sounds like Tim may not be on Bruce's side anymore. What are you saying, Tim?

I do think that if Tim had been right, if Bruce had been a murderer, Dick would've ultimately helped take him down. He's very defensive of Bruce because that's how Dick understands the obligations of loyalty, but... he's part of confronting Bruce and demanding explanations in the Cave, and he and Tim (and Cass and Babs) all investigate Bruce together. I think if there had been very very very credible evidence, Dick would've helped fight to take evil!Bruce down. But I also think he would've never stopped mentally searching for an explanation: mind control? body double? I think he'd have an incredibly hard time accepting that Bruce had just murdered someone.

And I mean! In Dick's defense! I don't think Bruce would! At the end of the day, I think Bruce deserves all kinds of criticism in post-Crisis, but I also tend to think that Dick's read of him is a bit more accurate than Tim's, that even though Bruce can act monstrously in all kinds of ways he is at bottom a person who would never ever ever murder a civilian girlfriend no matter how unstable he got and no matter how threatened his secret was. Dick might have a bit more faith in him than he deserves, but at the same time, Tim's jumping to the worst-case scenario pretty fast here, much as he does during Batman: RIP, and I think you could definitely argue that Dick - who's known Bruce longer and better, who lived with Bruce for years instead of just worked with him - has a better and more instinctive sense of Bruce's strengths instead of just his faults.

(And in Tim's defense, as Babs is about to point out to Dick, Bruce has not been behaving especially well recently and Tim has a lot of reasons to be frustrated with him. And Tim's not the only one - Babs is pretty suspicious too!)

.... And of course, I mean, as a Dick and Tim fan, I love that this arc makes very clear that Tim feels his own loyalty is to the symbol, yes, but also that he associates the symbol with Dick first and with Dick's sense of morals, that he trusts Dick, that he sees the costume as something Dick gave him and that's the legacy that he's trying to live up to, to never walk away from the truth, that he thinks the two of them need to be willing to consider the worst of Bruce .... and also the delightful paradox that this isn't loyalty that Dick asked for or wants or welcomes!!

Dick has always taken for granted that Tim was loyal to Bruce, not to Dick; he's not at all happy to hear the opposite. This isn't a heartwarming moment for them but instead a really fraught one, because it's a declaration of Tim's loyalty but it's a declaration of Tim's loyalty that's specifically about not offering unconditional loyalty to Bruce, so Dick feels like he's being invited to be traitors together instead of feeling touched by Tim's trust. Tim's loyalty is something he has to learn to come to terms with rather than something he's happy to have.

And I think that's great!! I love love love these kinds of complicated emotional dynamics (TM), and Bruce Wayne: Murderer is full of them. It's such a fun read.

[neyafromfrance95]

galadriel & sauron vs. morgoth theory + trop.

we all love the theory that sauron and galadriel would eventually fight side by side against morgoth.

if u think about it, trop is a perfect groundwork for this theory.

in trop, it is implied that sauron and galadriel meet by eru's design and their connection is destined. but why?

sure, galadriel has a hand in sauron's defeat, but so do many others. why does galadriel and sauron's relationship have to be so special and significant on the cosmic scales, above everything else?

in lotr, galadriel passes the test by the end of the 3rd age. she outgrows her pride and selfish need to rule without sharing her power with anyone and determination to rule the middle-earth even if it means becoming a terrible tyrant.

but it's interesting how later frodo sees galadriel through her phial's light:

“frodo took the phial, and for a moment as it shone between them, he saw her again standing like a queen, great and beautiful, but no longer terrible. he bowed, but found no words to say.”

i wonder if this is a subtle implication that galadriel has finally became worthy of succeeding her father one day. her father is the high king of the elves in valinor, and while he has sons, no one is as great as galadriel. tolkien himself commented on galadriel's commanding stature in valinor - "the equal if not unlike in endowments of fëanor." and "(galadriel) being mighty among the eldar, obtained this grace (entering valinor) for him (gimli)."

it has been generally agreed upon that since tolkien wrote several versions of it, galadriel’s story is convoluted, contradictory and inconsistent. but one thing has always remained at the core of her characterization - she is a politician who desires to be a leader. so ofc she would still be a politician in valinor, but it's interesting to imagine she would become a queen after outgrowing her greed and her time in the middle-earth was a neccessary test to shape her into a perfect leader.

considering trop canon, it can be said that even after everything, if sauron was to repent, galadriel would be the one to vouch for him or bring him up in a conversation regarding the battle against morgoth (and the first of all valinor to march to fight again).

another thing to note is that now, the only connection to the physical world sauron would have after the destruction of the one ring is galadriel's scar that binds them by blood! they have been bound by the sea, their admission of cosmic connection, nenya, and their souls are basically merged.

trop interestingly underlines the undertones of galadriel and sauron's comparability - they are mirrors that represent the light and the dark, but also galadriel is a natural born leader and sauron is a natural born follower. underneath sauron's desire to possess her, is the desire to serve and worship her as his queen!

and more importantly, his repentant phase in the show was when he was following her, when his presence actually was healing for galadriel.

so what does all of this have to do with haladriel vs. morgoth theory and how trop lays a groundwork for it?

galadriel's authority in valinor, sauron being bound to her, and galadriel being the one who makes sauron actually go back to his maiar purpose that valar ordained - the one who provides servitude and healing, all of this would make galadriel the perfect candidate to bring back sauron and make the valar consider his repentance.

as for sauron, by then, he would have enough time to get humbled and face what he knows subconsciously - he was meant to serve the light of his leader, not some silly ass rings. and by then, as we said, galadriel would have became even more perfect of a leader, maybe closer to how sauron saw her - a queen for all, a perfect antidote to morgoth. (and having outgrown her pride, galadriel would be able to admit her love and be by sauron's side as well.)

sauron says that after morgoth was defeated, he could feel the light of the one (eru) again and he knew if he ever was to be forgiven, he needed to heal everything he had helped ruin. he comes to see that light in galadriel. by helping her, he gets to receive "forgiveness" from the one he helped ruin ("i'm sorry for your brother, for everything" -> "whatever you did, be free of it"). he tells her that he never believed he could be free of it (morgoth's darkness) until fighting by her side (following her lead, serving her, healing her) and he wishes to bind that feeling (of being bound to galadriel's light) to his very being. and his subconscious screams at him that nothing he does will ever give him what he wants unless it's galadriel by his side, unless it's her light he worships ("your beauty still overshadows everything i could possibly write" ->"worship the light of its queen").

his repentance is tightly intertwined with his bond with galadriel and him coveting her light. he believes that he can be free of his bond to morgoth's darkness if he binds himself to galadriel's light instead. it's just that he can only truly repent if being bound to her light happens on *her* terms. in that case, they can be the force of the good together, pulling each other back from the darkness.

(it is interesting how in sauron's vision, his crown disappears once it's aligned with the sun, as if galadriel's light destroys it. girlboss taming her malewife but make it epic.)

whatever it is, i need one of u haladriels to adapt this theory on screen one day in the future.

[lactoseintolerentswag]

Rise Characterizations Pt. 8!!!!!!!!

This has literally been sitting in my drafts for so long I forgot it existed. Sorry to all the Baron Draxum fans (and Draxum himself, bbgirl deserves better). If you're new to my line of notes here's the beginning where I started with Raph. Alright part 8, Baron Draxum, here we go.

Language Habits:

Speaks in long and drawn out sentences, if you're getting nervous about run-on sentences you're on the right track

Due to this, tends to give speeches or monologues

Dramatizes everything fairly eloquently, look for the most exaggerated form of a word. Classic villain speak: "imbeciles", "brethren", "eliminate"

Puts emphasis on those dramatic adjectives and verbs

Occasionally refers to himself in the third person, not as often as Raph

Tends to yell or raise his voice when frustrated or lost in passion

A common gag is trailing off in a casual tone about the severity of his experiments ie his "if it works right" about the ooze causing pain when mutating that poor fish guy

Personality:

Incredibly intelligent yet impatient. It isn't known to my knowledge who taught Draxum or if he taught himself, but his mastery of alchemy and fighting makes him a truly impressive opponent. However, he's always cutting corners to get to his goal. He wasn't willing to raise through the ranks of The Foot the traditional way, he created an army of mutants rather than seek yokai, and was unwilling to spend further time interpreting the prophecy of doom towards yokai-kind

Flair for the (over)dramatic. Draxum is almost your classic evil villain kind of guy. He'll pull out all musical stops, including flowing hair and clothes. On the other end he'll completely overreact and commit to things of little matter like his position as a lunch lady.

Unyielding in his stubbornness. Draxum is not easily swayed in his belief, and even as hard as Mikey tries he is not rid of his disdain for humans by the end of the series. Guy was also incredibly persistent in his research despite his lab blowing up twice. This also allows him to hold longer grudges, even resorting to childish pettiness if he feels annoyed enough.

Affinity for muscles and power. He was drawn to Lou Jitsu for many reasons, but a main one was definitely his muscles. All his guards are usually incredibly beefy, and he was immediately drawn to Raph as "beautiful" when he's reintroduced to his specimens. As for power, he's drawn to the dark armor and is lost in the ecstasy of being imbued with so much mystic energy.

Self-absorbed and egotistical. Draxum is kind of obsessed with his title and self-proclaimed responsibility for saving yokai-kind. He's not one to easily admit his mistakes and takes great pride in his work.

Willing to toe the line of morality. Huginn and Muninn have blatantly called him their evil boss, but Draxum does see his actions for the good of yokai-kind. I don't think he really cares if he's working with evil organizations (The Foot) or doing evil things if he saves the day.

Team builder. I think it's interesting how Draxum is drawn to building teams. He's drawn to working together, all he wants to do is unite yokai and his mutants into an efficient force. This does not mean he's very successful.

Miscellaneous:

Has minor telekinesis

Was a warrior before he was an alchemist

Does not have a good relationship with the Three Heads (apparent leaders of the Hidden City)

Controls seeds that can a) grow into vines, b) expand into robotic vine gauntlets, c) encase his gauntlets into meatier gauntlets that can shoot out waxy cocoons

Is referred to as a sheep-man from the brothers, but I suppose whatever animal you interpret him as is up to you

Has a great singing voice :) ( which is subjective I suppose)

Alright now that is finally posted just gonna let you know that this Isn't the last of my rise analysis posts!! I'm so sorry for the wait!! I got lost in so many schedule things. I'll try and pump a few more analysis posts out within these next few weeks (excluding June 16-22), but I've also been busy working on miscellaneous wips. Thank you for being so sweet to me on all the other notes posts, you guys are so awesome :)

[late-draft]

Hello, Dema here!

First off—I have fallen desperately in love with your artworks. You have a very particular style, strong and fluid all the same, and I can't help but admire the way you draw and how you approach character design.

And talking about character design...

I saw your post about Zuko's bold design in S1 when compared to what we got in S3 and—as much as I love S3-Zuko—I completely agree with you. Something I've always loved about Zuko in S1 is just how striking he was, how much of a presence he had, even when he was being tossed around by a twelve-year-old. That being said, I love Zuko, I love him in armor and pointy shoes and with a ponytail, and I loved your alternative design for him.

What do you think about his S2 character design? How does it flow with the story beats and his overall character arc? Much has been said about the Hair-Growth-Means-Character-Growth (and I find it interesting, also, that he cut his hair again before joining the Gaang), but I'd like to know your opinion on how that translates to character design and how the decisions made in the show could be either good or bad in that regard.

Sorry about the long ask! I've just been thinking about this a lot, lately, and would like to know what you think. Hope you have a good day ❤️

AAAA Dema hii!!! I'm so happy I got a message from you, I didn't expect it!!

I'm super glad to hear, I'll wear it as a badge of honour and I must tell you that I also love your art, you wonderfully do volume and the shading done through a contrast of sharp and soft areas! Super solid anatomy too and I'd be lying if I said I didn't look up to your art!

Yess the character designs in the show actually are rather strong, I like a good balance between memorable and functional. Zuko is just *chef kiss* but, considering just how many appearance changes he goes through, some are bound to be weaker than the starting one. That said, I'm gonna go through a few of his S2 looks and make this reply long, ha!

The starting one when he ends up huddling with uncle Iroh with other poor refugees, fits extremely well for the narrative at the moment. It's actually one of my least liked looks for him, and that's great!! It's precisely how it should be, because he's also arguably at one of his two lowest moral points in the story - he basically lost almost all hope, no clear goal, nothing to fight for, he's desperate precisely because of the lack of orientation and thus his morals degrade and sink veeery low. He gets on my nerves so goddamn much in this period LMAO I want to beat him up, he looks like a recovering drug addict... annoying, entitled whiny jerk stealing food and anything shiny for his uncle, but even then he just does not cross the moral event horizon. Excellent characterization. He just looks atrocious and it's great because it fits this low point.

Next he gets the standard boyish square of a hair, no notes here...

But theeeen, he arrives at one of my favourite looks of his, and it's not just because the clothes fit him very nicely (I've seen fandom say they look too big for him which, maybe?? But it doesn't look like he's swimming in them to me) And a thing I've noticed which, maybe it was just an accident on design part but I'm not sure considering they colour coded the entire cave scene; in this part his clothes match the shape of Katara's, first one in bottom then the one in top. The collar is the same haf-circle design but I don't know, maybe there was a limited pool of clothes designs guide which they cycled through. Or, he really is meant to come close but miss Katara by a beat, like sine and cosine chasing each other.

But besides this outfit fitting the inconspicuous Earth Kingdom customer service persona, it also (perhaps inadvertently) does this VERY cool thing:

It makes his shape look closed off and guarded, supposedly non-threatening. It's most visible in his fight against Jet, whose shape is open and goes in many directions like an aggressive star. But then look at what Zuko's shape does:

When he attacks, it opens up to reveal the hidden aspect, again the aggressive star shape shows up! The same thing happens in "Zuko alone" episode but I think it's most clearly visible in this fight against Jet because here he has a direct contrast and comparing with Jet. I think this is an example where the outfit, whose similar design exists irl, overlaps with a great visual metaphor and enhances the narrative at that moment in story. He's still that combative firebender but he has to keep that aspect concealed most of the time. Plus it just looks badass as hell!!

Animators really knocked it out of the park with many frames. I think Jun was too early and missed his better hairstyle, but Katara was just in time.

I agree it's super funny how his hair in the Beach is awfully long, covers his face to an uncomfortable degree and then he apparently shortens it before joining the Gaang, insane behaviour Truly an "I'm so angry and depressed I won't show my face nor be capable of seeing anything because there's nothing nice to see in my life" look...

I guess all his appearances in S2 cover his mental states, but only one of them is extremely Extra (the tea server, doesn't even take the apron off and goes to fight) and I don't see any spot where a similar tier design could be shoved in, narratively speaking. So all in all, S2 did as much as S2 could have. More tea server arc please though, the Guru episode really feels like it skipped 800 km of plot and everything that happened in it is so crammed and pretty sus in terms of character behaviour.

[theerurishipper]

Shadybug and Claw Noir's relationship is so interesting to me. It's just a lot of small things that add up so well to form one great picture. It's like... they don't like each other, but they also need each other. Despite their glaring differences, their relationship is characterized by mutual support. Shadyclaw are partners in a world where mutual aid is a crime.

There are so many scenes in the special that show this really well. Shadybug and Claw Noir are always snapping at each other, and they're almost constantly fighting each other. But they're also such a well-oiled team, and they actually do work really well together. Like in the first fight with Ladybug. Claw Noir took the first strike to force Ladybug to dodge and Shadybug grabbed her when she was off balance. Or when they attacked Monarch at the same time and came at him from different sides. They function well as a team despite their differences.

They can't win on their own, and despite what they say, the episode proves them wrong immediately. Shadybug says she doesn't need Claw Noir, but the very next scene is her hiding behind him as he cataclysms the Akuma. And Claw Noir also needs Shadybug, because he asks her what they should do next, proving that he does rely on her plans. And I think they do know this, even if they don't want to admit that they depend on each other.

And all this is so interesting! But what's really more interesting to me is the emotional element of their relationship.

Like, Emonette has spent her life without any support or help from anyone, without anyone to depend on. She doesn't have friends; she doesn't have "a boyfriend who doesn't think she's a total loser," and she doesn't have a mom she can depend on (for whatever reason that may be). She's all alone in the world. She can't trust or rely on anyone.

Except Claw Noir.

Because whether she likes him or not, he's there. He works with her, he follows her plans, he's always there. Maybe he mocks her, maybe he tries to take her Miraculous (like she does to him), but he's a constant presence by her side, and she is aware that he's not going away anytime soon. And it's not like the bullying she suffered, because here, she's on equal terms with him. She can give as good as she gets.

And she does rely on him! Like I said before, she needs him. For the powers he brings to the table, at least, she needs him. And I think for someone as lonely as Emonette, the assurance that he'll stick by her no matter what, even if he's annoying and rude, is comforting in its own way. She doesn't like him, she's angry that he keeps trying to take her Miraculous. But she trusts him. Maybe not deeply, but for someone as lonely and hurt as Emonette is, having even that much trust in someone is hard.

Her reaction to him trying to take her Miraculous is also so interesting to me. She's actually angry that he does it. She confronts him angrily about it. And when he accuses her of the same thing, she goes on the defensive. And yeah, this could be her just being angry about what he tried to do. But it doesn't really add up in the context of what we know about their partnership.

You'd think that after all this time, she'd know why. That she'd be used to it. But no, she's angry about it. She takes the time to confront him about it. And the thing is, she knows what he's going to say, because it's going to be the same reason she gives him. I kinda feel like this isn't her just being angry about him trying to take her Miraculous. I think it upsets her when he does it. Because, despite claiming she'd be better on her own, she doesn't like that he wants to get rid of her. So, she goes on the defensive and asserts that she wants to do the same thing to him as a way of hiding her own vulnerability.

And we all know that the both of them are very good at denial (after 5 seasons of the Love Square, how could we not), and that's so true here too. Shadybug is in serious denial when she suggests that she'd be better off alone. We know she depends on him, and on some level, she knows it too. And yet, she says all that. It's not hard to read her reaction to his actions and his accusations as being defensive out of a sense of fear and denial.

Cause Emonette has had a very rough life. No one has supported her, no one has ever stood up for her or stood by her. She's afraid of being hurt and of being vulnerable. She's built up walls as high as a skyscraper and refuses to put them down out of a fear of being hurt again. She doesn't believe that anyone would stand by her and support her.

But Claw Noir has done that, even if their relationship is tenuous. He may not be nice to her, and he may not like her, but in some sense of the word, he has stuck by her, and he has supported her. And it hurts her that he would try to do this after all that.

Their partnership is important to her. When she's reading Marinette's diary and reads the part where Marinette is talking about her partner Chat Noir, she looks over at Claw Noir, indicating that that's how she feels about him. That she does associate the word "partner" with him. And then she rolls her eyes at him, but you know. Denial. Maybe I'm just being crazy, but that's really how it comes off to me after everything we know about them.

And one person rolling their eyes at the other is a common romantic trope sooooo

And we can't not talk about Emodrien! Because it's the same for him. Watching the special, it comes off to me that Gabriel isn't that great of a dad here either. Emodrien has been left to deal with his mom's death all alone because Gabriel is off playing hero and is pretty much neglecting his son. And Emodrien doesn't seem to go to school either, and apparently, he's still a famous person with fans of his own (he's wearing Gabriel fashion, which I don't think he would if he was so mad at his dad), so I think his relationship with Gabriel isn't that much different, except for the lack of manipulation and gaslighting (and arranged marriages and white rooms). So, I think that he also is like our Adrien in that he has pressure on him to be perfect (I think Claw Noir even says something along the lines of Adrien being perfect, implying that he does have to perform that role).

And honestly, Emodrien is just like our Adrien, a master at compartmentalizing. Adrien Agreste doesn't say a word in this special to anyone. He says his transformation phrase, and he exclaims about Shadybug being revealed to be Emonette, but he doesn't speak otherwise. And she did tell him to be quiet, but we've seen that he doesn't really listen to her, like when he didn't help her search Marinette's room and chose to take a catnap instead (sorry). He could have said something in the few minutes he was on screen, but he didn't. But he's so drastically different as Claw Noir. He's expressive and talkative and in your face about everything. Adrien Agreste having pressure on him to be perfect would explain why Claw Noir is so different. This is the part of himself that he's hidden away and can only express as Claw Noir (like our Adrien).

And the only person he can do this with is Shadybug. She's the only one around whom he can share this part of himself. And she doesn't leave. She's still around, and she may not like him, but she accepts it. He needs her too, not only for her plans and her own skills, but because he acknowledges him. She largely fights back whenever he does or says something, and often she is the one who starts an argument. And for someone whose life is characterized by a lack of attention from a parent and a recent loss, having someone who does acknowledge him must feel important. He can only be "himself" around her. And for this boy, whose only happiness in life till this point seems to come from staring at this one girl from the bakery, I think it does mean a lot, in some way, that Shadybug is around and ready to engage with him.

And I think his reactions to her and his rivalry/enmity towards her are also like her: stemming from a fear of vulnerability. We see that he's so unwilling to be perceived as weak that he's ready to tank a cataclysm to the chest that he inflicted on himself on purpose. He doesn't want to let anyone in either. And yet, Shadybug is someone that he relies on, and he may not like her, but he does need her, and she is important to him, in some way.

So, they are important to each other, and subconsciously, they both do value and need each other. What prevents them from accepting and sharing those feelings is their fear of vulnerability and their awful situation. They are pretty much stuck in a rivalry and a state of perpetual competition which entails that the one who gets the Butterfly Miraculous will be the one to survive. That's enough for anyone to try and hide their feelings of sentimentality for someone else. It's literally a matter of survival. Add this to their respective lives of suffering and loneliness, and it's easy to see why they can't show those feelings to each other. Their supposed hatred for each other is just a defense mechanism.

Is their relationship perfect or healthy? Not really. But their feelings are real. And it's so telling that when they do start to overcome their fears and start to take the steps towards forming connections with others, they instantly fall into a friendly, even loving dynamic. They literally leave our world holding hands. These feelings didn't come out of nowhere, they've always been there. Shadybug and Claw Noir were just too afraid of their own vulnerability and were stuck in an awful, forced rivalry to be able to express them. But once they take the first step towards accepting their feelings and start to overcome their issues, they instantly start flirting and their teasing goes from being cruel to being friendly.

They are still the same! Emonette still calls him fleabag, Emodrien still makes fun of her, but it's their approach that has changed. Instead of being veiled in cruelty stemming from their respective fears, they are embracing their true feelings. This whole special has been about them understanding themselves, their true feelings and what they truly need, and it led to them understanding their feelings for each other. They've always cared. Even in the middle of the special, when they hadn't had their resolutions yet, we have that touching scene of Claw Noir trying to comfort Shadybug.

Because their masks had dropped at that point. They were tired of hiding their vulnerability. Shadybug is crying openly and not making the slightest effort to hide it behind any excuse or mean comment. And if he truly hated her, Claw Noir could have just hit her with a cataclysm and taken her earrings. But he chose to try and comfort her instead. And it's interesting that they do not insult or argue with each other after that scene. They aren't fully open with each other yet, which is why she rejects his comfort, but it does speak volumes about their relationship, that the only thing between them is their fear and hurt.

In the scene where Emonette is yelling at Sabine that she's fine and to get off her back, there's a moment where she looks at Emodrien, and sees the look of sorrow and understanding on his face. And that leads her to admit the truth, that she's damaged. Before she saw him looking at her like that, she was being defensive and yelling for Sabine to get off her back, but after that, her tone changes. She opens herself up despite herself and cries before him. That scene was pivotal, I think, for them to completely understand each other, when they saw their own feelings reflected in the other's eyes without any masks covering them. It was a scene of mutual understanding. The feeling that the other person understood them, which led to them dropping their fronts and showing their true feelings.

They are the only ones who can truly understand each other. They are in this together, whether they like it or not. They know what it's like to be alone, and to feel hopeless. Both Shadybug and Claw Noir are dying from their misuse of the Miraculous (obligatory fuck The Supreme), and only they understand the fear, the hopelessness and the despair that comes with that. Only they know the feeling of being up against the world, of being alone and having no one. And they became that person for each other, the person who would stick by them no matter what, even if neither of them could see it yet.

[ninja-confession-go]

I hate how people characterize Acronix. I absolutely hate it. As someone who finds great interest in him, it pisses me off when people portray him as a "soft whiny kid." Sorry to break it up to you but that guy is a WAR CRIMINAL. He doesn't cry when he falls down and scrapes his knee, and he isn't a poor defenseless puppy that needs protection of his big bro every second. There is nothing wrong with Acronix being vulnerable around his brother, but seriously, the amount of baby-fication of him is insane. He is not 8. He can defend himself and fight (and was one of the best warriors Wu has ever seen). How can you baby-fy him and call him a defenseless kid when in the show, all he does is try to hurt people in order to get what he and Krux want without hesitation?? HE HAS NEARLY KILLED SO MANY CHARACTERS?!?! One thing is saying he is a "smol bean" as a joke, another is ACTUALLY portraying him as one in canon.

.

[suncchaser]

okay so- i am slightly confused

before i start: i hate fanon regulus. he is literally a character who did like one (1) relevant thing to the plot, and that was making the horcrux harder for harry to find. he was an enthusiastic death eater and only backed out after getting cold feet.

but, in the same way, canon james potter is a bully who stalks and objectifies a girl and tries to guilt trip/manipulate/whatever her into dating him by tormenting her best friend. he is super white-privilege coded and very heavily classist. i totally get just liking the character and his potential in AUs, but do you have any thoughts on his canon characterization?

not meant to be rude, genuinely trying to understand things. no pressure to answer if you don't want to! :)

James is, along with Sirius, my favourite Marauder, so I am totally open about speaking on his characterisation.

In regards to your ask, James stalking Lily and obsessively asking her out is fanon. We have one instance of him asking her out in the books and absolutely no indication anywhere that he had done it before and it was a common occurrence.

James was indeed a bully and a dickhead during his teen years and his attitude did come from a place of growing up very financially secure and sheltered. At the same time, James was a great friend. He went out of his way to help those close to him. He had a strong sense of morality as well. He was a pure-blood man that could have allowed the war to go on because he was safe but he still chose to fight, he still chose to marry the woman he loved even if so many people in their world frowned upon their marriage.

Does any of this excuse his actions towards Snape (and towards other students he hexed on a whim)? No, it doesn’t. But it doesn’t have to because nuance exists. Characters should be three-demensional, flawed.

To me, the most interesting aspect of James’ characterisation is his growth. Fanon takes that away from James by making him into his perpetually kind person who wants to help everyone. It removes the nuance from James to turn him into an accessory to other characters’ redemption and victim arcs.

[cerastes]

I've seen people before saying that, in terms of presentation, NIKKE delivers it better than Arknights in telling what they want to tell. And I still see this occasionally whenever people start comparing stories in gacha games. Looking at your post, seems like that wasn't a lie at all.

Right, this is an interesting topic for me, so let me give my two cents on this.

I would say that statement is generally true. Nikke's main strengths are its presentation and knowing how to leverage its strengths in general, but let's focus on presentation: It's story is nothing to write home to (note that I am up to Chapter 18), neither are its events (on this regard, take me lightly, I've only read three), but what Nikke wants to say, you will very clearly understand. It's good at telling its story. Sometimes the localization will have Localization Moments (Chatterbox is described as female in the first cutscene he is mentioned, male every time afterwards; there's a lot of clearly literally translated little expressions that make no sense in the flow of the conversations), but overall, even though you're looking at a story that in a lot of ways you've seen a lot of times, its particularities stand out because Nikke tells them properly, concisely, and clearly. Characterization is consistent, and there's a good amount of care clearly put into both consistency and overarching important parts of the narrative; a favorite example of mine is how, in the tutorial, if you pay close attention, you can actually see Marian's eyes glow red during her reload animation, foreshadowing something pretty important that happens with her later.

So even if the story beats are not particularly good or intriguing -- and sometimes, outright terrible, like in Chapter 18 oh god I hate Chapter 18 -- you at least can tell with clarity what's going on and why it's going on.

Arknights has the yang to the yin here, somewhat: The stories on Arknights tend to range from okay to great, and AK events have a habit of going pretty damn hard, either as a whole or at least parts of them. Sometimes, however, they have a weakness, and this weakness is that the actual story telling can be dense. Density is often attributed to good writing, but the truth is, sometimes, the text isn't advanced, it's simply clumsy, and the prose in Arknights is decidedly clumsy. But when you actually untangle the spaghetti of clumsy prose, you find some strong story telling, strong characterization, and topics you don't often find discussed in video games, less so in gacha. You kinda have to work for it, basically.

Something Nikke does good is also that it keeps its relevant cast at any given story beat low, giving it more cohesion, or rather, making it easy to stay cohesive, because Arknights can handle larger casts pretty well sometimes, but I'll be frank, the current main story has so many literal whos to keep track of that I'm supposed to be invested in that I don't really bother. I'm sorry, but I can't really feel a damn thing about Outcast when she showed up for a few scenes and then got nuked off by a contrivance while fighting some faceless nobodies we are told we should fear.

But on the other hand, Nikke narrative, again, despite its strong delivery, is still built on a feeble base for the most part. I only think of a few characters I care about in Nikke, because a lot of the cast is just fluff and Obligatory Archetypes (bunny girls, school girls, maids, etc), whereas in Arknights, I care about a whole damn lot of them, even those without events, because their files and modules paint a very integral and intriguing picture of them. Even smaller scenes in Arknights sometimes can have a big emotional impact, due to its extensive and well crafted worldbuilding and its clever use of its elements in every event, something Nikke cannot claim, because worldbuilding in Nikke is almost non existent.

They both have their strengths, basically, and it's fascinating to me, a writer, to take a deeper look at them.

[taffybee]

not that anyone's asking BUT my hot take on giovanni is he should be retired rn. not from like a "the pokemon company should stop talking about him" (weeeeelll that's sort of part of it but. hear me out) kind of way BUT in a. he should LITERALLY not be doing team rocket shit in ANY canon universe anymore. and it would be TOTALLY in-character of him to do so if the medias still using him characterized him the way he should be. welcome to my ted talk let me explain myself

FULL DISCLOSURE: i like giovanni. like, a not normal amount i fear. all of that opening sounds like i don't but i totally feel stupid emotions about this guy. anyways:

GEN 1. gen 1 games are like... NOT known for their compelling dialogue. and in cases like archie and maxie in gen 3 getting remakes in gen 6, their characterization and dialogue gets (kind of subjectively but i feel this is a popular opinion anyways) Much Better. i think that goes for a Lot of stuff where they give old guys new dialogue in spin offs (gestures at masters ex which i think is Great for making characters Actually Interesting)

but i feel like with giovanni there's been a DOWNGRADE in character since his appearance because he no longer Progresses.

i WILL say masters ex does Some Work to try and make him Deeper than just "I'm Evil for the sake of Being Evil grahgghh 😈" but it's like. overshadowed by All The Other Stuff.

plus he IS rainbow rocket giovanni in masters and i'm like OBSESSEDDD with team rainbow rocket. but i also don't think it should. Exist. I'M GLAD IT DOES but i find it out of character for giovanni to do At All. I CAN EXPLAIN I PROMISE.

team rocket's goals as an organization are and always have been: make money via stealing or otherwise exploiting pokémon. that's all it NEEDED to be. because it was gen 1 and no one needed to be ripping apart the universe yet.

giovanni himself sees pokemon as a means to an end. that much has stayed consistent in all of his appearances. but what CHANGES things in what happens when he LOSES for the FINAL TIME in r/b/y:

I WILL DEDICATE MY LIFE TO THE STUDY OF POKEMON. that's like CRAZY sort of redemption. and you Could argue against me to say "well have you considered he was lying" and i Have but i think it's SO much cooler if he was being legit. if he was so Changed by losing So Many Times to a little boy who just cared So Much for his pokémon that he needed to experience that for himself.

I mentioned in my previous giovanni post that pokémon origins has characterized giovanni "right" and THAT'S because via continuously fighting red and seeing his passion for battling as well as his love of pokémon firsthand, giovanni rediscovers his lost passion for pokémon that he had when HE was younger, and he sees HIMSELF in who red is and decides to disband team rocket after their gym battle so he can turn his life around. i HIGHLY recommend watching episode 3 of origins if you haven't seen it. it's freaking Marvelous.

ANYWAYS. THIS is the characterization of giovanni i support the MOST because it's not terribly complicated but still has nice depth to his character that you could read into.

BUT if we're going by this characterization of him, he should. NOT BE DOING TEAM ROCKET STUFF NOW! he SHOULD have been retired storywise by game freak after that and retired job-wise. studying pokémon and touching grass.

but THEN. gen 2 happens. (... well, gen 2 and the first gens 1/2 remakes.)

gen 2 introduces the concept of "let's bring giovanni back". which i wouldn't complain about if giovanni wasn't ALSO trying to get back. WHY. WE ESTABLISHED IN THE FIRST GAME HE'S DONE. and gen 2 didn't DIRECTLY SAY giovanni was up to come back (as far as i'm aware, i did NOT play gsc, someone correct me if i'm wrong). but when frlg released, they Changed dialogue from the original to FIT this idea:

NOW "studying pokemon" has become "training". there IS no character development for him here, he JUST wants to get stronger to be a Better mob boss. and this is supported by the celebi time travel event where he's ABOUT to rejoin team rocket before you beat him

the big problem with this (and any giovanni dialogue in the time travel event) for me is that it frames everything that happened to him in gen 1 as "giovanni wasn't a good enough mob boss then but now that he's had some time to Train he's ready to be a Better Mob Boss" WRONG! THAT WAS NEVER THE ISSUE!! part of the pros of team rocket at its peak was that giovanni was Unknown to most and could direct operations in the shadows AND he could keep his business as a gym leader because NO ONE KNEW. but now EVERYONE knows and team rocket can LITERALLY NEVER REACH THAT PEAK AGAIN. the ONLY CORRECT thing to do in this situation is Disband and Do Other Shit (cough cough study pokémon and touch grass cough cough)

this seems obvious to me that this desire to keep dragging him back into things is the games way of being like "woaahh!! callback time!!" and then later down the line "woaaahh!! nostalgia time!!!" (because they wouldn't have retconned that final gen 1 dialogue if it wasn't) and while i can Appreciate it to a degree (because i am Not Immune to getting STUPID EXCITED when old blorbos show up) i think continuing to make giovanni show up to Be Evil isn't the way to go about it. or at LEAST not canon timeline giovanni.

and the gen 1/2 remakes for ME is like... the beginning of the issue, but as we've gotten Further Away from gen 1 in time, the more i feel they stray from where he ended in the original in favor of making him More Blandly Evil. he feels constrained to one-liners about how the worlds an EVIL PLACE and he's just playing the game or whatever alpha sigma shit he's on in the masters trainer lodge

rainbow rocket is kind of CRAZY to me because they take this mob boss who likes exploiting pokemon and scientists for money and they make him start. opening interdimensional bad ending au wormholes to take over the world with aliens. (also having him willing to share the power with all the other evil bosses, some who have in their universes Successfully taken over the world??? heeeellll no. not even my proposed toned down characterization of this guy would be cool with that realistically.) it all just seems to be Way Beyond what team rocket SHOULD be doing. they're The Mafia. making The Mafia open wormholes is CRAZY. but giovanni HAS to be the main guy because. Nostalgia.

idk how much sense i make when i say this but when you make team rocket less cunning and less focused on doing their work in the shadows and running their shady operations stealthily. you get. a more ambitious team skull. and there's nothing WRONG with team skull but it's NOT WHAT TEAM ROCKET IS SUPPOSED TO BE. they've got more of a reputation than that but modern depictions of giovanni and the organization as a whole water him down to "i love Causing Problems" and less "i love Good Business"

whatever. giovanni in modern depictions MAKES SENSE if you followed along the slow regression of his character in real time. but i feel like if you look where he is now and look where he Ended in r/b/y you have like. Two Different Characters. and i think having a redeemed or even kind-of-half-redeemed giovanni could be SO much more interesting in showing up again than having him be Generally Evil

AND IT'S NOT LIKE THAT REALLY POSES ISSUES FOR MASTERS EX. cyrus is half-reformed WITHIN the story. archie and maxie too (although they were already kind of like that). lysandre HAS an evil moment but he DOESN'T DIE like he does in canon and THEN he's FINE. he still "runs" team flare but he's NOT LONGER A THREAT TO THE PROTAGONISTS

what i think COULD'VE been cool in some hypothetical scenario is have giovanni come back for cameos but Not as team rocket's leader. have him Turn Down the rocket admin radio broadcast. hell, having him come back to help the player Stop Them if he feels particularly annoyed. LET THAT MAN GO ON VACATION. WHATEVER. there's SO MUCH you can do with him the way cameos are done for the Other non-evil characters and there are options where you could Still battle him as a Test Of Strength but THERE'S JUST. SO MUCH WRONG WITH HIM STILL BEING OVERTLY EVIL.

i understand keeping giovanni evil for nostalgia. i Get it i PROMISE i do. i just think it makes him a weaker character, and the companies sacrifice character development for sales. but if you wanted to have a bad guy who was JUST BAD and would CONTINUE to be bad if given the chance,

GHETSIS IS. RIGHT THERE.

that's the end of that for me i think. i'm SO down to discuss or debate this take for fun. i just think giovanni should retire and pet his cat because it's funny.

[margindoodles2407]

You guys were asking for the Fives And Echo Dissertation so here it is. Courtesy of @seeking-elsewhither, who first asked the question, "Do you think Fives or Echo is older?" and then patiently listened as things got out of hand.

(Author's note: this is written in my own sort of weird style, where I have a point to prove but to prove it I use almost a kind of narrative style. A great previous example of this is The Crosshair Dissertation, which I published whilst watching The Bad Batch. I hope this style doesn't throw anyone off. Thank you for your time.)

@whyoneartheven You may be interested in this and @kitty-i-swear-to-gosh I know you asked me where the thesis was so I'm tagging you. I hope you don't mind :)

Tube twins are incredibly rare within the ranks of the GAR. Very few of them survive gestation due to lack of nutrients or other complications, and the few that do are often… taken care of by the Kaminoan scientists. The reason for this is that (based on prior tests and research) tube twins, more than any other clones, have a tendency to become dangerously codependent. They will often prioritize their twin over the rest of their squad, which means missions get failed and battles are lost. And Force forbid a pair of twins get separated, whether it be through simple reassignment or, worse, death- it can cause severe mental depletion to the point of a psychosomatic response, a full-on breakdown, and too many other problems to count.

Neither Fives nor Echo knows the real reason they were allowed to survive. They both doubt it was a show of mercy on the parts of the Kaminoans, and even less likely is the idea that they somehow slipped through the radar unnoticed. They agree, though, that it's better not to pry. For their own sake.

Now, with this knowledge in mind: let's examine the fact that, in my mind, Fives is the elder twin. To make sense of this, you may need to take a brief refresher on my characterization of Fives. He's a silly guy, yes, and we love him for it. He also takes responsibility incredibly seriously, he does NOT tolerate those who abuse their positions of authority, when he sets his mind to something only the Force itself could possibly hope to stop him, and he is willing to literally fight and die for the people he loves.

Now, Fives is not the eldest of his vode. He has Hevy, Cutup and Droidbait ahead of him, and only Echo directly under his care. Echo his twin, Echo his closest brother, his best friend, his confidant, his better half.

And he, Fives, is his older brother.

On Kamino, he keeps his head down, as much as deep in his soul he wants to lash out against the Kaminoans and their standards of genetic purity, because if he were to act out on Kamino he could get himself and his entire squad in trouble. And he has a responsibility not to do that. But he also has a responsibility to protect them- ESPECIALLY ECHO- in other ways.

He… becomes a little bit overprotective of Echo. He has a tendency to constantly pull "older brother status", but he's not doing it out of a sense of inflated ego or superiority, he's doing it out of a genuine sense of duty. He's doing it because he knows the danger tube twins are in, the fact that most of their twin brothers died as tubies or newborns. He's doing it because he knows Kamino is a harsh world, a dangerous world, a world of scientists so pragmatic that they speak of human beings as "units" and discard anyone who doesn't measure up to their standard of genetic perfection. He's doing it because he loves Echo, he loves his brother more than anything in the galaxy and he genuinely wants him to be safe. But Echo, especially as a cadet, doesn't fully understand this. And he does resent Fives, just a little bit (mostly as a cadet), because in his mind Fives is only being needlessly overprotective. He feels that Fives won't let him fight his own battles, he feels that Fives thinks that he's weak and incapable just because he's the youngest and the younger TWIN and the straight-laced rule-follower who would never willingly go seeking out a fight. As cadets, they get into a LOT of arguments about this, and it's not until right before their graduation that they both finally seem to fully understand each other.

Now-- the Kaminoans are absolutely not justified in their termination of tube twins. But they aren't exactly wrong about the dangers of codependency. Especially after the Rishi Moon, Fives and Echo really feel like it's them against the galaxy. That's not that they don't love and care for their other brethren, but they begin to cling to each other in somehow an even more intense way than they did as cadets and as shinies. It's a good thing they both end up going to the 501st, they both end up in Torrent Company, they both enter ARC Training and both graduate ARC Training. It's a good thing they're assigned on the same missions. Rex and Anakin recognize that they do seem to work best as a team, their movements seem to be in tandem and it's almost as if they can communicate between each other without saying anything, which makes them both utterly fascinating to watch and entirely lethal on the battlefield.

So of course it's only natural to assign them both to the Citadel mission.

Such a shame no one knew there was a bomb in that shuttle.

Fives spends the next few weeks after the incident completely out of it. He's a sobbing, hysterical, sleep-deprived mess, and everyone begins to wonder if the stories about separated tube twins having broken minds are true. But Fives is not a fragile man. He's devastated, he's lost the person he loves most in all the world, he's experienced the worst tragedy in his short life… but he also knows that he has a responsibility. To his Captain, to his Company, to his brothers. So he pulls himself together and goes back to war. But there's something markedly different about him after the Citadel. He's still warm and friendly and kind, but he's not as quick to smile. He's slower to laugh. His gaze holds a kind of sadness and emptiness to it that brothers unfamiliar with the story of his life don't fully understand. (Even the ones who are familiar don't fully understand. Only the Captain, and the men who were at the Citadel, really get it, and even then… none of them had a twin.)

When he first meets Tup and Dogma, they kind of remind him of the old days. They aren't twins, but they share such an incredibly close bond that they could be. He sees a lot of himself in Tup. He sees even more of Echo in Dogma, which is why the whole debacle with Krell breaks his heart so much. (People ask him if he hates Dogma, for everything he did. For trying to execute him. Fives always looks them hard in the face and simply responds, in clipped tones, "No, of course not. How could I hate my brother?" The recipients hardly wonder if his words might have a double meaning.)

He ends up taking Tup under his wing, the way Rex took him and Echo under his. (If Dogma had stayed in the 501st, he'd be there too.) And part of the reason they're such close friends is because of the way that Fives sees so much of himself in his younger brother (and so much of Echo in Dogma). It's one of the reasons Fives fights so hard against the chips.

It's the reason that it's not just blasterfire that shatters his heart.

Echo is rescued from stasis a few weeks later. He doesn't ask where Fives is, not at first. There's the whole shock of getting off of Skako Minor, then there's the stress of the Battle of Anaxes, then there's the joining of an entirely new squad.

But he knows there was a reason, and not a good one, that the arms he woke up in were Rex's and not his twin's.

He finally works up the courage to ask the Captain where his brother is.

Rex tells him Fives is gone, and he screams.

He screams, horrible sobbing tears, because the one and only thing that kept him going through those years of horrible torture and pain and absolute agony was the fact that he HAD to stay alive, because he HAD to see Fives again. He HAD to get back to Fives his twin, Fives his closest brother, his best friend, his confidant, his better half.

Was everything he went through for nothing?

Should he have just… let himself die? On Skako Minor, should he have just… given up?

No. No, he tells himself, when he's finally calmed himself down (which is… not after a short period of time). That's not what Fives would want.

And that's why, when he has a chance to go with Rex, when he has a chance to go and finish what Fives started- rescue their vode from the prison in their own minds- he grabs it with hand and scomp and doesn't let go. He loves Clone Force 99, he loves Omega, he loves them all more than he's loved anyone since he was first separated from his brother.

But this… this is why he didn't die. This is why he didn't let himself give up. Rex told him the stories, the stories of Umbara and the tragedy of the Chips. And Echo knows that, if Fives were alive, he'd be right there too, fighting the Empire under its very nose.

How could he possibly do anything else?

(And, years and years and thousands of rescued Clones later, as he lays, an old man, struggling to take his final breaths, surrounded by his former Captain and the squad that took him in and the little girl with star-colored hair who has grown into such an incredible young woman-- out of the corner of his failing eyes he sees a bluish figure with unruly curls and warm, grinning eyes and a supernova smile, eternally twelve-twenty-four and crystal clear against the grey fuzz of everything else. And finally, it's the twin he lived his whole life in memory of who's the first to welcome him into the afterlife.)

[booksandabeer]

Stucky Recs: Road Trips!

Well, well, well. Look at that! After only three months of constant whining about having no time to do it, I've finally managed to put together a new rec list! Yay.

The theme of this list was requested by multiple people and really, who doesn't love a good road trip story, right? And let me tell you, there are so many good ones, this post could've been twice as long. I'm actually already hoarding fics in my little folder to do a part two later this year.

But for now, please enjoy my effusive ramblings about the following 10 Road Trip fics + 1 Rail Trip fic:

🚗 you're gonna have it your way or nothing at all by biblionerd07 | T, 15K

Author's summary: Steve and Bucky aren't really much of a Steve and Bucky anymore these days. Steve's sure it's because Bucky doesn't see himself as the same guy who used to love Steve. In a desperate attempt to prove him wrong, Steve begs Bucky to go on a road trip together, the way they used to dream about, and does his best to remind Bucky of who he is.

A post-CW canon divergent fic that's in a lot of ways very soft, but with just enough of an edge to keep things interesting and the reader uncertain as to how everything will play out in it. This starts with a somewhat disaffected Bucky who has not (yet) regained all of his memories and a Steve who, in his desperation to reconnect with him, tries so hard but ends up saying and doing all the wrong things. As they travel around the country, they both find ways to let go and to unlearn and relearn each other. Features moments of heart melting yet tongue-in-cheek sappiness (so the absolute best kind of sappiness) and a fun background Sam/T'Challa pairing.

🚗 a black sky prickled with small lights by emilywithoutY | M, 26K

Author's summary: There's this: The July heat. A wide open road. An obnoxious country song on the radio. Bucky in the driver’s seat.

Or: Two hundred-year-old men and their Great American Road Trip

The ultimate, unashamed Steve-and-Bucky-visit-the-Grand-Canyon wish-fulfillment fantasy—and I mean that in the best possible way. The summer road trip vibes are impeccable. This is technically the third part in the Litanies series, but it absolutely works as a standalone. However, if you ask me whether you should read the entire series, the answer is obviously a resounding yes. It's not only one of the best EG-Fix-Its I've read but also comes with an additional fun and sexy twist on how to get these two to finally get their heads out of their asses. Anyway, in this installment, they have already done that and now they get to enjoy the road, their freedom, and most of all, each other. Includes: healing along the way, long overdue conversations, and the attempt to reconcile the joy of finally having all that time with the bittersweet reality of having all that time.

🚗 Blue Moon by what_alchemy | E, 15K

Author's summary: "Now are you gonna run away with me or not, Rogers?”

God, this story (this author, really)! I’ve read this fic so many times I’ve lost count. It features one of my favorite post-WS characterizations of Bucky. One where he's still—somehow after everything—a romantic at heart, but also clear-eyed and unsentimental enough about certain things to not shy away from laying out some uncomfortable truths for Steve and the reader alike (there’s one line in particular that is seared into my brain and every time I read it I personally feel so called out). Steve may be a bit more cautious and softer about it, but oh, he gives back just as good. Nobody is handling anyone with kid gloves here. A story about learning how to be together (again), defining one's very own version of 'Happy Ever After', and about being very much in love, and also very horny for each other.

🚗 Not Language but a Map (The Grammar of Sensation) by dorian_burberrycanary | E, 20K

Author's summary: Steve has never felt right running away from a fight, even if the fight is with unanswered questions. But it’s not running if it’s a road trip and the oldest, thorniest unanswered question is along for the ride.

If you follow my blog you will probably already know that I am head over heels in love with this entire EG-Fix-It Series. This third story is finished, but Steve & Bucky's road trip continues in part 4, which is currently being posted (updates weekly). I believe this fic can be read as a standalone but, really, why would you deprive yourself of even a single word of this absolutely magnificent series? Every word, every detail, every narrative choice feels deliberate and well thought out. It's a masterclass in subtle storytelling and yet so rich in its themes, characterizations and descriptions of people, places, and food. This fic will make you hungry in so many different ways. A lot happens between the lines which may require some patience at times, but when the emotional payoff hits—it really, really hits. I cannot recommend this enough. Spectacular all around.

🚗 where the days are longer by endofadream | E, 13K

Author's summary: And maybe that’s what they’re running from. Those ghosts. That minefield. The suffocating pressure to live up to who they used to be when who they used to be has now become stale, recycled words in textbooks and museums and clickbait online articles.

They fuck off to the coast, trying to put as many miles between them and D.C. as possible. New York is loud and claustrophobic at the best of times, but California has the open skies and roads that make Steve ease a little more into his skin.

I have such an immense fondness for this story. There are some very minor problems with shifting POV in the first chapter, but please don't let this deter you from giving this story a chance—it's got so much heart. This is a slow and meandering piece that can be best summed up as: Steve and Bucky being so very much in love. Set in some undefined period post-CATWS, in a world where the events of Civil War never happened, Steve and Bucky decide they’re tired of fighting and conforming to what everyone else wants them to be and just get in a car and drive all the way to California. There, they start figuring out how to live in the future while also accepting that they can never quite leave the past behind, and that time, indifferent to the tragedies of (not quite) mortal men, will inevitably keep marching on—whether they want it to or not. To quote directly from the story itself: They’re both men out of time, so they make their own.

🚗 Lightning in a Bottle by odetteandodile | E, 63K

Author's summary: The problem, Steve thinks, isn’t so much his motorcycle giving up the ghost on a lonely stretch of highway through a lonely stretch of the country. He doesn’t mind stretching his legs or the prospect of hitchhiking.The problem is the roiling black blanket of storm clouds slowly spreading itself over the landscape headed his direction…

Steve Rogers is looking to hitch on a highway abandoned by everyone smart enough to avoid a looming storm. Bucky Barnes is the professional storm chaser who offers him a ride. It gets more complicated from there. 

This AU offers an intriguing twist on the The Road Trip as a genre, Shrunkyclunks as a trope, and modern!Bucky as a character—it's an electric ride from start to finish—in more ways than one… *wiggles eyebrows* ...yeah ok, I’ll see myself out. It was either this or something about 'chasing all kinds of storms together' and I just couldn’t resist. Anyway, this story is a clever and unique take on canon events (not just limited to the CA movies!) and I don’t really want to give too much away and spoil all the fun, so I’ll just say this: If you are in the mood for a thrilling sci-fi/adventure/romance hybrid-story with beautiful evocative writing, characters that actually act like the smart, competent grown-ups they supposedly are, sex scenes that are both hot and emotional, and a touch of spy/mission fic to go along with a free crash course in weather phenomena—this is the fic for you!  

🚗 The Only Familiar Thing by brideofquiet | E, 39K

Author's summary: Steve takes a breath, steels himself, and asks, “Where are we going, Buck?”

Bucky raises an eyebrow. “You’re the one driving, Steve.”

And before Steve can protest, Bucky gives him that broad, toothy grin again. The worry pitted in his stomach ebbs, and he decides—what the hell? Why not? Steve pulls his helmet on and swings a leg over the bike. Bucky settles in behind him, and he cranks the engine to life.

A Post-CATWS fic, in which Bucky has returned to Steve after being on the run for a while. They are together, share an apartment in Brooklyn, and Bucky has regained most of his memories—so yay! All good, right? Well, things are going…uh...let's say they're going. See, Steve and Bucky are still very much in love—the thing is, they're pretty good at the being in love part but pretty awful at the talking about it (and everything else that matters) part. So much so that they accidentally on purpose non-communicate and out-stubborn each other into going on a road trip, where things will eventually—inevitably—come to a head. Throughout the trip, the tension between them builds and builds until finally they have to admit that sometimes being partners, lovers, best friends, and knowing someone better than anybody else in the world, still doesn't mean that you can *actually* read their mind. Sometimes you gotta use your words. The author skillfully manages to create a story that treats its characters and their conflict seriously, while also infusing it with a healthy dose of humor and romance to always keep the readers on the right side of 'frustrated' (i. e. invested, not irritated).

🚗 old college try by kafkian | E, 19K

Author's summary: Bucky wonders if it’ll ever stop feeling like stealing: Steve Rogers, Captain America, the hope of a nation tucked into Bucky’s right hand. It’s the heist of the century.

In which Bucky Barnes remembers himself, Steve, and what it means to be selfish – not necessarily in that order.

Another old favorite of mine. Set post-CACW, this fic starts with a recently defrosted Bucky and a somewhat unmoored Steve in Wakanda, as they try to figure out what to do next: Keep fighting the never-ending wars of other people or run away, see the world, and retire to a quiet life? Well, since this is a road trip fic, I think you can guess which option they go for. It's a beautifully written story about Steve and Bucky's journey across continents and decades, and their ultimate arrival in a life that they never dared to hope they could have one day. This was written in 2016, so right between the fanfic avalanche caused by TWS and the frenzy of EG-Fix-Its. Re-reading this for the first time in quite a while made me realize that—aside from being a fantastic story in its own right—it's also an interesting commentary on popular Stucky fics that came before it (you can see clear influences but also some gentle rebuttals to popular fanon of the time) as well as very much a product of its time. And I don't mean that in a negative or disrespectful way at all, but simply, that it also serves as a fandom artifact; a text that reveals and reacts to certain trends, shifting attitudes, and developments in Stucky fanfiction over the years. Either way it's definitely well worth a read.

🚗 The Long Way: A Stucky Fancomic by BeaArthurPendragon, LittleWolf82 | T

Authors' summary: After Thanos is defeated, Steve doesn't stay in the past. This is the story of where he and Bucky go next.

A little something different here: a road trip fancomic! And oh, it's only one of my favorite fic writers teaming up with one of my favorite artists—what's not to love? This is an EG-Fix-It that simply ignores the last five minutes that Ruined It All and instead tells the story of what could've or should've happened to Steve and Bucky after EG. A story that is infinitely kinder and truer to these characters. Sweetly told and beautifully drawn—an absolutely wonderful collaboration.

🚗 i need a forest fire by tomorrowsrain | T, 65K

Author's summary: In which Tony Stark makes a reckless decision, becomes a wanted fugitive, goes on the run with the former Winter Soldier, and learns how to forgive. For his part, Bucky Barnes is just trying to hold himself together. AU, post-Civil War.

This is the only fic on this rec list that does not have Bucky and Steve going on a journey but instead it's Bucky and...Tony. WAIT! Hey, come back! I know that for a lot of Steve and/or Bucky fans the idea of reading a 65K fic that heavily features Tony Stark does not really sound like an enticing prospect. BUT! Hear me out. This is a fic that runs with one of the core concepts of fix-it fanfiction, which is: What if these characters actually talked to each other for a change? And yes, it gets messy and complicated and often painful—nothing is glossed over and no one is let off the hook easy. What you get here is a fantastically written story that is simultaneously an intimate & slow character study of both Bucky and Tony, a grand sweeping road trip fic with a thrilling plot that will have you on the edge of your seat (there is a moment in this where I really thought it was all over), AND a decade spanning tale of epic love. If you're worried that there is too little Stucky or Steve in this, don't be. Even before he shows up around the halfway mark of the fic, Steve is very much present the entire time. It's incredible what the author pulls off here. This is one of my all-time favorite fics. I love it a totally not normal amount.

🚂 Will There be Any Freight Trains in Heaven? by phoenixflight | E, 56K

Author's summary: It's summer of 1934, a quarter of all Americans are unemployed, and record numbers of migrant workers are hopping freight trains to seek their fortune out west. What are two boys from Brooklyn to do?

Or, Steve and Bucky ride the rails, become socialists, and fall in love, in no particular order.

This story is a bit of an outlier on this list because not only is it the only fic that's set in the pre-war period, it's also not strictly a road trip fic, but a rail trip fic. Usually the road trips in these stories are either (1) a last ditch effort at saving a friendship/relationship, (2) a way of finding oneself and/or making peace with one's past, or (3) the 'we survived all this and here we are together in the future, so let's go and actually see some of that world we fought so hard to save' victory lap. The impetus for travel in this fic, however, is born out of sheer necessity. It's the height of the Great Depression and Steve and Bucky are really poor and really desperate—so desperate even that they're willing to leave behind Brooklyn, their families, and their lives as they know it to go look for work in the West. This is not a fic that's always easy to read, circumstances are dire, attitudes are, ahem, authentic to the period, and the nostalgia-tinted glasses about the good old days before the war will get firmly knocked off your face. It's also a story that will show you time and time again that sometimes you will find kindness, love and almost overwhelming humanity in the places you least expect it. And listen, if period accuracy and a very political Steve Rogers do not convince you, let me tell you that there's also a lot of pining in this. So. Much. Pining.

Ok. This was fun.

Next up: Short fics under 10K

[celestialholz]

The apple of my eye (or 'oh good, there's ANOTHER one')

*yeets into the conversation a week late with Starbucks*

Sorry, sorry. Been trying to save a dukedom from a giant brain and live my best happily ever with a vampire twink. Very distracting.

But anyway, I haven't even gotten the boys in my clubroom yet, so more analysis incoming, but I have finished Indigo Disk's main story, and I couldn't help but notice something deeply awful when fighting our little buddy Kieran.

... Oh god THEY'RE MULTIPLYING. How many apples do we need? How much more homosexuality does this game need? (Yes. The answer is 'yes.')

Meet Hydrapple everyone, the latest gay marriage mascot. Truly wish you all could've seen my face when. And it evolves from the last gay marriage mascot! I have quickly become homophobic again, how do they keep managing this?!

So, naturally, we need to break this loveable bastard and its symbolism down, or I might have to start passing the meta queen crown off to someone else. (I vote @prince-kallisto. Friend spare me. 🤣)

Well, we'll begin with the obvious: this thing is a hydra, a multiple-headed dragon in Greek myth. This one in particular has seven, so says the all-knowing dex:

But we'll do the seven part in a minute. The one major thing you should all know is that in most tales, removing one of this thing's heads respawns two in its place - and killing one of these creatures was the second labour of Hercules, the God of Strength. There's that fucking number two again in connection with our boys...

And now, let's take the Greek and easternize it to our lovely Japanese creators with the number seven.

Seven in Japanese culture, like in the western, is seen as a lucky number, and also the number symbolising the cycle of life and death.

... Which, if you recall, is a running theme with our silly men.

Get your life saved, idiot. Be lucky. 🥰

There are also Seven Gods of Fortune in Buddhism, Japan's primary religion. And there's one that rings more than a few ceremonial bells - Fukurokokuju. Bit of a Buddhist lore deepcut here for you:

> He is the god of wisdom, luck, longevity, wealth and happiness. Moreover, he is the only god who was said to have the ability to resurrect the dead. Fukurokuju is characterized by the size of his head, being almost as large as the size of his whole body.

... Hmm. Wisdom, happiness. Luck. 'Resurrecting.' The one that has a large head, like our good pal Hydrapple here... it's all very interesting, isn't it, how it ties together?

And all this goes a long way to explaining the evolution method of this fun little apple-y bastard. Because in order to be lucky, to be brought back to life, to heal and to love and to find yourself... one must have support. A cheerleader, if you will. Not one with pom-poms (although slay Hass babes, you'd look great in that drip), but one cheering you on. Always being in your corner.

... And here we find Dragon Cheer, Hydrapple's evolution move. Brassius can pursue his dreams as passionately as he likes, because there's always a husband at his side to be on his side.

It's a whole narrative, my friends. We have the romantic gift of the Applin; we have the adorableness of the Flapple, and its dusk portrait; we have the total harmony of Dipplin...

... And now we have the result of that harmony. Look, it's even running away from the Ice of the Polar Biome, a type both Grass and Dragon can't stand. The emotional cold.

Y'know, I'm sure someone would have DM'd me by now if Hass and Brass' clubroom banter confirmed their marriage, so I'm going to assume that isn't a thing.

... But at the same time, it's definitely a thing. All you have to do is read the narrative, darlings.

[shunnedmorlock]

Hi! What are your opinions on each of the greens ?

Have a good day/night!

Otto: I think he gets a bad rap, not in absolute terms but relatively to the people like Viserys and Daemon. If you hate Otto for pushing Alicent to marry Viserys, you should hate Viserys much, much more. Otto is "merely" complicit in what happened. There was no one Vissy could've said no to more effectively than Otto. It just goes to a double standard you see a lot with these farcical black-green debates where people change their opinions on whether it's ok to judge people by in-universe standards depending on what "team" they're a part of. He has a habit of telling unfortunate truths that get him in trouble, but most of the things he says are just, like, objectively true, but people don't want to hear it. Daemon is actually a danger to the realm and his brother, Rhaenyra does actually have to give the scions of great houses a hearing, Daemon did actually groom Rhaenyra to claim the throne, Alicent's children do pose an inherent threat to Rhaenyra by their mere existence.

From a Doylist perspective, like many other things, I think episode 9 really butchered Otto's character. All of a sudden the guy who has been working hand in hand with his daughter for the past few episodes didn't tell her about the plot to seat her son on the throne??? And now the guy who got fired by Aegon for being too slow and measured in his war planning is pushing to kill Rhaenyra immediately? And he wants to send the Kingsguard to do clandestine assassin work? And he's reluctant to ban child fighting pits for like no reason? I'm sorry, you don't have to be a feminist to not like that!

Alicent: I have talked about her at length. Nixonian Queen. I kneel. The war will make her worse, and I enjoy it. One of the characters I think on-balance the show improved.

Criston: Not a good guy by any means, but dismissing him as just a resentful incel is just boring. It's very clear he was, at best, conflicted about his tryst with Rhaenyra to begin with - he liked her, they had a lot of chemistry, but he does genuinely believe in his vows. The marriage thing is obviously silly and naive, but from his perspective it's him trying to do right by her (and also preserve himself and his soul), which puts him a step above many other Westerosi men who canonically often feel no obligations to the women they sleep with outside of marriage or the children created. There is a real difference in values between him and Rhaenyra that goes beyond him hating women, even if his values aren't strictly speaking good. I'm sorry, but the fact that a Westerosi man is as sexually repressed as an average Westerosi woman is genuinely a point in his favor! I sincerely hope he and Alicent make each other worse. Substantially improved by the show.

Aegon: This is going to be controversial, but baffling/over-the-top/ill-thought-out decisions like Dyana and the child fighting pits aside, I much prefer this version of Aegon to F&B. I don't care that he's kind of pathetic, that's fun, that's drama, that gives room for character development and growth into the king he ends up becoming. It's clear the writers do want Aegon to be kind of sympathetic, but it seems they didn't consider what stuff like Dyana would do to that, which to me indicates they meant the focus of that scene to be Alicent and her behavior, not Aegon. Which is stupid. One of the worse victims of inconsistent characterization, switching between vaguely sympathetic drunken frat bro to outright sex criminal every episode, or even in the same episode.

Helaena: I like what they've done with her. It's more interesting for her to be a doomed neurodivergent prophetess than just a little dumb, even though she hasn't done a ton so far. Similarly, in an RP I was a part of, Jaehaera was depicted as not simple, just autistic and it was much more interesting.

Aemond: BORING! Don't care about this guy, sorry. Maybe I'll like him more when he is pathetically down-bad for Alys Rivers, but right now he's just like budget Daemon to me, who I also find boring. He was more interesting as a bullied teen.

Larys: He's a tough guy to adapt because his motivations are kind of nonsensical behind a vague idea of getting back at Rhaenyra (?) for dishonoring his brother (??) by putting his children in line for the throne (???). The foot thing is kind of gross and I do wish they'd have given him an actual motivation but whatever. The actor's good and I do like him and Alicent on balance. Improved by the adaptation.

Tyland: We love our little bureaucrat don't we folks? Hope he gets more screen time later on.

Jasper Wylde: FUCK YOU SHOWRUNNERS WHY IS THE GUY WHO HAS HAD ONE LINE THIS ENTIRE SEASON PART OF THE COUP BUT NOT ALICENT FUCKING HIGHTOWER??????

[arysthaeniru]

Things I find are handled so interestingly well in the 2003 Fullmetal Alchemist compared to Brotherhood: 

Ishval! The true horror and terror of Ishval is handled so much better: it is the centre of the show’s thesis about the violence done against other people in the name of scientific progress and the empire’s violence

Speaking of: racism is handled better in this show too! The way that Ed and Al are so callous and dismissive about Ishval through most of the show, despite Marcoh’s warnings, and it really doesn’t hit them until they go there in person and realize that Rick and Rio have suffered just like them: in fact, Rick and Rio have suffered even more than them. Ed and Al can always go back to Resembool. Rick and Rio can’t. The casual racism of our main characters is really good! It’s very realistic that Ed and Al believe the racist lies about Ishval for SO LONG, despite rationally understanding the military is bad

Liore! Because Liore gets to have this back-and-forth with Ishval, you get this really strong empathy and solidarity between Rose and Scar, as this representation of Ishval and Liore: religious brown people versus the Empire coming to genocide them out of existence...the solidarity and love between Scar and Rose and the peoples of Ishval and Liore is really good!

Ed and Al really get to be kids and get to be wrong a lot? They get to be such unreliable narrators in a way that is so interesting! When they say something about alchemy or make comments on other characters, they’re often wrong and misguided! Ed’s petulance and anger and stubborn defiance and Al’s naivete and inability to question other people’s lies gets them in trouble way more often than it does in Brotherhood and it really emphasizes just how much he and Al are children out of their depth in a horrible system, in a way that Brotherhood often doesn’t. 

The metaphor of alchemy: Alchemy IS science. For all its goods, it is all the evils and fallouts of unethical science: science that is done at the expense of people, science that is done in the name of greed, science that is done only in the name of violence, and with this strong metaphor, the Philosopher’s Stone as this pinnacle of progress that is built on the blood of common people is just a less complicated metaphor. Because Alchemy is science and FMA 2003 is a commentary on imperialistic, colonial science that is so directly commenting on the Gulf War, it gets to say things much more angrily than I think Brotherhood ever gets to?? You feel the anger about the lies of the Gulf War in FMA 2003 and how it parallels to WW2 better. The animators seem more angry and I enjoy that more!

(More about pacing, characterization and the overall tone of the show under the cut!) 

Although the show ultimately whiffs it, the homunculi being the leftover remnants of human transmutation allows for so many climatic, interesting conflicts between both the homunculi and humans, but also between different humans! Ed and Izumi and their relationship in this show is defined by their fundamental disagreements regarding the role of alchemy and what to do with the homunculi: and it is SO good!

I love that the homunculi are resentful of humans for living and want the philosopher’s stone to be human again! I could do without them all being controlled by a mysterious entity who is so much more boring than all of the other homunculi, but hey. That happened in Brotherhood too, Father’s very boring. 

Speaking of the homunculi: they are so much scarier and intimidating!! When they show up to a fight, pretty much everybody loses! It’s great! It’s not until the last 10-15 episodes of the show that Ed is able to actually put up a fight against them, so you really feel the stakes everytime they show up on screen. They kill Hughes masterfully, they beat the shit out of Scar, they beat the shit out of Ed and Al, they beat the shit out of Izumi--they’re genuinely scary and I love it! In Brotherhood, they are able to evenly fight them SO MUCH MORE QUICKLY and I think it makes them less of a threat than in 2003. 

The main women in Ed and Al’s lives get so much more to do! Maria, Sheska, Izumi and Winry all have a HUGE amount of screentime compared to Brotherhood, where Winry is mostly just running around and has very little initiative to investigate the main plot! Here, she and Sheska investigate homunculi, participate in fights and really are emotionally impacted by events. Izumi barely shows up in Brotherhood ever, and she is a fundamental player in the game in 2003! And Lieutenant Maria Ross gets to really actually play the role of ‘first adult to be like CHILDREN SHOULDN’T BE IN THE ARMY’ which gives her genuine depth and emotionality. 

Oh, Martel’s a real character too! She and Al are fun, I enjoy their banter and I enjoy that she gets to really emphasize to Ed and Al that Ishval was entirely a false-flag operation 

Rose too! I love that Rose comes back as a real character and not cameo! I love that Rose’s rape too, is not just this moment where Ed truly and really realizes that the military does interpersonal violence, but also is something that motviates Rose herself! I love that moment where she screams at Ed to keep walking, just as he shouted at her at the beginning of the show. I love that her continuing on as a character means that Ed’s shitty speech at the beginning of the show gets to be recontextualized as a thing of strength again. I love her resilience, and I love her.

On the villain-side, at the expense of Greed being a character, Lust gets to be a very sympathetic character! I love her contemplations on why she wants to be human, I love her slow realization that she’s tired of the fight, I love her immediate betrayal of Dante once she realizes that Dante is just using her, I adore her and Envy’s petty bickering. She gets so much depth by being formerly human and being linked to Ishval. 

Speaking of Winry: Roy killing Winry’s parents is just. So much better. I love how it immediately breaks Winry’s faith in the government entirely, I love how much it really and truly shows how the Amestrian military is evil. I love how it really creates this moment of weakness and vulnerability in Roy, which he doesn’t get nearly as much in the other show! Roy’s too cool in Brotherhood! I love how young, sad and pathetic he is when he kills the Rockbells, it really sells the horrors of war much better. 

I really like getting to see Ed and El’s counterparts across all of the side characters: the characters that only show up for one or two episodes: everybody is brothers. Everybody is consumed by this burning posessive love. But nobody goes as far as Ed and Al are willing to. I love how they are confronted with their mistakes and failures everywhere they go! It really sets the tone of horror. It really sells Ed and Al as the protagonists of a dramatic tragedy. They made the mistake, and they will make it again, in the name of love! 

A small thing: but I love that Izumi and Ed disagree with what the Gate is? I love that Ed thinks of the Gate as Truth. And Izumi doesn’t! Izumi simply thinks it is a horror. Izumi thinks that what insight the gate gave her was not truth but something else, and I agree with her. I love the idea that Ed’s conception of reality is based on him being Mr. Edgy Angsty Atheist! I love that the gate is silent in 2003, I like that there are very little answers. And I agree with Izumi! The answer to the question: what lies behind the ultimate taboo of science is NOT truth!! It doesn’t quite make sense! 

Relatedly, I love that Ed learns all of his horrible communication skills and bottling everything up coping mechanisms from Izumi. They make all the same mistakes all the time! Izumi always takes everything on her shoulders even though she has help, as does Ed. Izumi never communicates her love and appreciation for the people around her, letting her actions do the speaking, as does Ed. They are terrible mirrors of each other, and I LOVE IT SO MUCH.

I like that Armstrong is not comic relief? He puts on ‘Mr Muscle Man’ as a facade about three times in 2003, and every single time, it’s a distraction, it’s supposed to make people look elsewhere. Most of the time in 2003, he’s incredibly solemn and serious, as he tries to endure doing the wrong thing in the name of duty. I love that he’s still suffering the consequences of being too kind in Ishval. 

I like that Mustang, Hawkeye and all our favourite main characters put Ishvalans in trains and take them off to concentration camps. It’s not very subtle with its metaphor, but it shouldn’t be. If anything, Brotherhood deeply de-emphasizes the horrendous nature of the genocidal play of the army and the constant violence they partake in. Roy and his people are so heroic in Brotherhood, and I really like how much they are complicit. How much they are ultimately soldiers who are ‘just following orders’ in a genocidal regime. 

I like that they don’t turn to act for the side of good until the very end of the show. I think it highlights the stakes a bit more. I like that the show makes us doubt Roy for a lot longer before finally giving Ed hope! It’s far more cathartic!

I like that Paninya ISN’T ACTUALLY A THIEF???? I like that Paninya is just a gal who wants to make her adoptive dad proud and she steals Ed’s pocketwatch not for Winry to teach her a lesson about how ‘stealing is bad’ but that Ed gets the lesson that he’s not the only one that makes automail work for him! I love that Ed loses actually in 2003!

I really enjoy Fletcher and Russell. Fletcher especially is my good boy. He and Al should hang out more :) 

I really like that Kimblee starts out as a fugitive in 2003! There is something so slimey in Brotherhood where the army just immediately takes him out of jail to track the Elric brothers: it definitely shows just how evil the Amestrian army is, but I think I prefer him being a traitor to Greed’s gang! I love how much more personal Martel makes her fury with him! I like how it takes a while for the military to take him back in here, mostly because it allows for Archer to be a character instead. 

I think Archer being a character makes Kimblee more effective: Kimblee is not Ed’s enemy. He’s Scar’s enemy. And I LOVE that in 2003. 

Archer’s initial attempt to do the right thing instantly being overtaken by craven greed is also a really fun arc! I just enjoy more military characters getting to be pieces of shit. 

Scar gets to interact with more Ishvalan characters because he’s not tied down by far too large an entourage cast, and as a result, he is just. SO much better. I love that he and his mentor fight and talk and he ties himself to the refugees of Ishval in a way he doesn’t quite get to in Brotherhood. I LOVE his determination to make a Philosopher’s Stone out of the military’s lives. I love that he has no hesitation about it either. This is praxis!

I love that Ishvalan people’s legacy is alchemy too! I like that alchemy is the lost art, the old art, and not something that missed Ishvalans by entirely! Although I do like that Scar’s brother in Brotherhood is trying to combine alchemy and alkahestry, I LOVE that 2003 is simply him going back to Ishval’s ancient history. It makes the science metaphor more interesting, especially when you see that apparently the ancient Ishavalsn found out how to make a Philosopher’s Stone and then rejected it and alchemy entirely as a result. I think it’s really interesting worldbuilding! 

I love that whole sequence where Ed kind of makes Wrath’s hatred of him worse? I love how mean and obsessive Ed can be in the show sometimes, I love how flawed and interesting he is. He really feels like a teenager lashing out against the cruel world, and it emphasizes the tragedy of it all.

I love that Hohenheim’s immortality is NOT an accident. I like that he actively did evil things to gain immortality and I like that now his is a story of regret! I think it makes Hohenheim so much more compelling when he is a man seeking repetence for an actual sin instead of being tricked? I think it’s more compelling that he has the same sins as his sons. I like that he was the first to do human transmutation and the first to make a Philosopher’s stone, and that these are Ed and Al’s legacy?? It’s so interesting and fun!

The slow pacing really allows for the tragedy to actually build! I love how slow yet purposeful all the episodes are! The only truly filler episodes are the weird episode about the sexy female thief that keeps tricking Al because Al is too horny/naive, and the Mustang Team’s side adventures. Every other filler episode is doing important work for building the themes of the show! And even the two filler episodes are doing importent things re: characterization! 

Shou Tucker is such a CREEPY minor villain that is used to perfection in 2003. I love how he keeps showing up, I love how awful he is, and I love how much more significant he and Nina are to 2003, because Ed and Al spend four episodes with them instead of their story being wham-blam-ka-blam like it is in Brotherhood, where everything with them happens in 1 episode. 

Laboratory Five is SO MUCH MORE DEVASTATING as a dramatic tension point for Ed! I love how much more evil it is! I love how much more hopeless the situation is. I LOVE the dramatic irony of Ed almost killing hundreds of people because he believed Shou Tucker, despite everything. It’s so good. It makes Brotherhood’s Lab Five Arc pale in comparison. 

Hot Take: I kind of love that Ed goes to Nazi Germany by going through the Gate xD They don’t spend nearly enough time on it, but I kind of adore it anyway. FMA 2003 said subtlety is for cowards, and they were CORRECT!

Things I think weren’t as good but still interesting

Brotherhood really went off with making the homunculus the root of the nation-state of Amestris. I love that in Brotherhood, the state was founded for the explicit purpose of genocidal violence, and the homunuculus as simply the underside of the genocidal turn, the secret police that make the state violence seem legitimate. The hazy relationship between the military/state and the homunuculus muddies the otherwise clear message that 2003 is going for re: state violence and the role of science in perpetrating/continuing violence. 

Dante’s bad. Not that Father is GOOD, not in any way, but Dante’s plan is very stupid and is very underexplained. Why do Trisha and Bradley still follow Dante when she clearly reveals she’s just using them  to prolong her own life and has no intention of making them human? Why do they not immediately just turn traitor like Lust does--the show never builds any real loyalty between Dante and the other homunculi, which makes for a rushed climax, alas. (I do LOVE her and Hohenheim’s bodies physically rotting, that’s some really fun body horror! And I can’t help it, I love exes who were evil scientists and one continued to be evil, and one repented. It’s a fun trope and it was DEEPLY underutilized, alas)

I’m sad Scar died! 2003 obviously has an incredibly high body count and I  defend all of them, but Scar dying is just kinda sad! I like that he has to live with himself in Brotherhood and make Ishval again. 

Greed doesn’t get to do much at all, and his weird acceptance of his own death is VERY strange compared to his own acceptance of being a man so greedy that he wants everything. Although I ended up liking his role as Ed’s first murder, I think Greedling is SUCH a highlight of Brotherhood, that its absence felt jarring. 

May Chang and Ling are such good characters, and I miss Xing! I think I really end up liking 2003′s laser focus on Ishval more, in the end, I think it does a better job of focusing on genocide and racial violence as the catalyst for the state’s and science’s expansion. But May and Ling are such lovely characters and I missed them. 

Al’s angst about maybe not being a real person goes on for SO LONG. I forgot it’s like a full four episodes! It’s the one emotional stake that doesn’t quite feel as impactful as the rest of the show. 

Sloth-Trisha had so much potential that was squandered, I loved when she finally became a fighting antagonist, but I wish they’d spent more time on Ed and Al arguing about her and what to do with her/what she means. I mean, it tracks with them both: that Al instantly goes ‘oh, homunculi are remnants of human transormati--OMIGOD MOM’S OUT THERE’ and Ed’s like ‘i refuse to think about this until the last possible minute’ it’s very in character, but it means they never get to really fight about killing Sloth-Trisha, which is a shame! 

[the-red-thread-that-strangles]

Alright. Let's talk about Akai's and Furuya's fighting styles, control, and the ferris wheel fight, featuring some tangents on professionalism.

The second reason is the implied: Akai is (in general, probably not in this situation, because he is going along with the fight Rei wants) a professional, and professionals do not fight. A professional will either ambush or assassinate (you know, like the sniping Akai is so well-known for), and generally do everything in his power to avoid a fight. It's about gaining the advantage, pressing and keeping it, to maintain control over the situation. For comparison, fights are between people of roughly equal footing, and fighting follows rules. As a person who lives in the world of actual violence, Akai does not need the fancy dances of a fighting sport, he needs his rifles, guns, and a self-defense technique for when things go really bad and personal. (Incidentally, a professional will also plan, won't let his emotions get in the way, stay calm, and keep working in bad conditions - we also see these traits in Akai.) I can remember two instances of Akai fighting (there might be more)- the ferris wheel fight, and the one time he knocked out the people after Yumi (and arguably, they didn't really have a chance and it wasn't really a fight). Other than that, he's just coordinating and providing tactical support.

Akai using Jeet Kune Do for fighting is an interesting choice. It's not as well-known as many other fighting styles (hell, it's not even a fighting style, it's a self defense technique and really more of a philosophy or a principle), but it has a couple of key values that characterize him well. First off, it's hugely individualistic. Practitioner's are encouraged to find their own way, to find what works for them, which really is Akai in a nutshell, doing what he wants. Secondly, it is described as a highly efficient way to fight. There are few, if any, rules to Jeet Kune Do, you're expected to use whatever technique will help you the most in the moment. For this reason, it is also highly adaptable, and requires an appropriate mindset to use. This latter point, I think, really mirrors the approach the FBI has in the series - do what you need to in order to get the results we want, at whatever the cost.

The fact that it's a self defense technique is important for two reasons: one is the immediate one for our context - Akai's defending himself from an angry Rei on the ferris wheel.

With all that out of the way, let's get into the ferris wheel fight, and what we learn about them there.

For contrast, let's look at Rei. It's almost funny how little professionalism Rei has compared to Akai, when it comes to the world they're living in. Rei's choice of fighting style is boxing, and he's practicing a rather straightforward, aggresive version, with barely any defense, at great personal risk. That point about professionals not letting their emotions get in their way? Well, either Rei has never heard it, or he's deliberately ignoring it. Either way, it really holds him back from gaining and maintaing control.

(I would be remiss not to point out that boxing is also done for show, fitting for this show-off.)

Boxing might honestly be good for Rei in order get out his anger and to up his pain tolerance, but for the purpose of keeping him alive, it sucks. It's up close, it's personal, and it's dirty (that tagline might as well describe Furuya himself). A threat who's gotten into that range is already a problem. Sure, usually - though not in this instance - he's also got his handgun, with its limited reach, limited firepower. For his purposes, it might suffice - he's not supposed to be a fighter, and the advantage of his gun is in its concealability. I suppose he gets a couple points in professionalism for that choice, and for often bringing back-up, whether he's working for the PSB or the BO. For what it's worth, he's also likely trained in Kendo or something similar, as we see in Wild Police Story, but he doesn't really use it. We see Rei fighting rarely, but it happens; with Matsuda at the beginning of WPS, casually inflicting violence on a kidnapper, and now here on the ferris wheel.

It's so interesting to me how they interact here.

Despite both of them bleeding, it starts to feel like Akai is in control, or at least not dated by the fighting - he gets Rei good with Jeet Kune Do's signature One Inch Punch, but has enough presence of mind to casually grabs him so he doesn't fall to his death (which gets him shoved off with a foot. Give Furuya an inch, and he'll try to take your head). Furuya's meanwhile clearly enjoying himself, might have even entered the zone, a sort of battlejoy/trance, asking for a second round (here we go again, this is a fight, with certain rules, like rounds), and Akai, well, he's beaten up, but it doesn't look like he'd surrender to get Furuya off his back - despite it being an option that would end the fight early. We see both of them smiling at points in this exchange, and I think it speaks to both of them, inherently, being thrillseekers. Putting all they are into the outcome of this fight against a dangerous enemy is a thrilling brush with mortality.

Them fighting at all, on top of the ferris wheel, is stupid, plain and simple. They expect the BO to show up any minute, and they'd better be in peak condition - instead they indulge in this fight. Really, it's Rei launching himself at Akai, who's mostly dodging and defending where necessary (I say indulge, because he is armed, and could probably escalate/end the fight early). Fights happen for a variety of reasons, usually social (because otherwise we'd be talking about violence, not a fight), and this implies Rei sees Akai as roughly equal/wants him to have a fair fighting chance, following the social contract of announcing his presence. He launches the attack, takes the initiative but the distance is so large, and he telegraphs his intentions clearly enough that his advantage is minimal.

Akai has the distinct disadvantage of carrying his rifle case, protecting its contents, because he'll need them later. He is, as the series lets us know, a capable fighter (described stronger as Masumi, who can deal with Ran, an established capable martial artist), and we can see it in this fight. He's reading Rei's movements and blocking most of the hits - for what it's worth, Rei's style seems more focused on quantity of attacks over quality. He does get Akai with some unconventional angles of attack (like swinging up into a kick from falling), and mostly this initial struggle is about them fighting for control.

When we cut back to the fight, they're still at it. I find it interesting that Akai tries to talk Rei down throughout the fight. Because the presence of mind necessary to form coherent sentences in a fight is not nothing, and the fact that he at least tries to go for a different solution is noteworthy, even if it is ultimately useless.

Then Conan calls Akai. This is in a small pause to the fight, because, surprise surprise, fighting takes effort (another reason professionals avoid it). It is really funny to me how Rei respects the rules of a fight, but he also sees an opportunity in his opponent's distraction, and seizes it (at the cost of also throwing himself down into a chasm, the self-sacrificial bastard).

Only at this point does it feel like Akai is taking the fight more seriously. I'd wager this is a) because Rei has displayed the willingness to destroy himself to take Akai with him, b) due to the enclosed space - less space to dodge and c) because at least he is aware time is ticking. They're both injured, and the enemy is coming soon. This fight better be over quick.

They only don't fight each other to the death because of Conan's timely intervention. He calls to Akai for help, and just like that, the conflict is resolved, for now. Akai wordlessly rejects Rei's request for a second round, which Rei just...accepts. Allows Akai that level of control, and the control of the flow of information (namely, they don't tell Conan they've been at it). It baffles me, but then again, I suppose it is a fight, the fight has rules, and, clearly, something more important takes precedence. Then again, this whole damn exchange makes no logical sense. Rei has sworn bloody revenge on Akai, who just saved his life today, and instead of doing something about the BO they're fighting a little. Logic is nowhere to be seen, all of this is emotional. On both sides.

I guess bonus points in professionalism for working together for the rest of the rest of the movie, even if they're sharing intel with/depending on a literal child for the solutions to their problem. It's a very unusual set of circumstances indubitably not covered by their training, granted, so what can you do (I'd still love for the adults in this universe to do their job, sue me).

Last point of note for the movie, in my opinion, is Akai waiting after all the chaos is over for Rei to spot him. Is this a case of checking in and simultaneously showing that he, too, made it out alive? He is clearly noticed by Rei, and only then walks away. And Rei just lets him. Akai is in control, in the end.

[zettatoad]

finished mario and luigi brothership. i liked it! misc thoughts

i kinda like that this game is relatively back-to-basics. feels like a good decision considering it was made under a different studio. besides that, dream team and paper jam were very much following the template of bowser's inside story, and i feel like that was a little to their detriment. compared to these, the first three games were all trying new things, and in resetting like this and figuring out how to make mario and luigi work again from scratch, brothership is both trying new things and paving the way for any future titles to try even newer things

it does kinda suck that they made it so that you select luigi's battle options with the A button. a little awkward to switch from A to B when attacking

regarding trying new things: i like how luigi is handled in the overworld in this one. i don't know if i prefer it to the classic way, but i feel like it was a different way of controlling him that introduced new puzzles and such, rather than a simplification. it admittedly took some getting used to to not try to make him jump while navigating

the music is pretty good, but it's not yoko shimomura good, y'know? i don't begrudge hideki sakamoto at all and i wish him the best but i do hope they're able to get her back for any further sequels

the pun game here is on point. kudos to the localization team for their many ways of interweaving electricity, sailing, and gardening together (some of those are freebies, though. e.g. i'm pretty sure electric current is named after water current)

i've seen people complain about how long the special attacks and enemy attacks are for multiple mario and luigi games, and that hasn't really bothered me before. but boy, do some attacks take a while in this game. not a big deal for me but i'm beginning to see where those complaints are coming from

i wish this game had repeatable boss refights like the previous few did. they could give it an in-setting justification with connectar, somehow. the fact that there's already a level scaling system means you could potentially have an option to strenghten old fights so the early ones don't die in one hit when you're strong

the bowser jr. subplot was a good payoff for me actually playing bowser jr.'s journey. i think the mario and luigi writers care more about bowser jr. than basically anyone else. i like how he's characterized as being an incredibly spoiled and selfish brat but still a good kid at heart (besides being, you know, evil)

i like that peach does things in this game instead of protecting or saving her being a major goal. awarding mario and luigi brothership two feminism points for this

i haven't talked about the actual plot uhhh it was pretty good. i liked it. some of the many characters who tag along with you were a tad one-note but it was kinda nice having a whole gang of guys you get to know. iunno.

they did nail the ending, in particular the stuff after the final boss. a great conclusion to everything

overall i rank it as my 4th favorite mario and luigi game, above dream team and behind partners in time (i have an unusually high opinion of partners in time, relative to how i've seen other people talk about it. if you did not like partners in time like this is basically like saying it's my third favorite (i don't know if it works like that))

we still need more mario and luigi games until we finally get one with a wario and waluigi boss battle

SPOILER THOUGHTS BELOW:

reclusa is sort of like if flowey the flower and monokuma had a horrible son together

i kinda think he sucks but i kinda think that's at least partially because he kinda shows up out of nowhere to take over the last act of the game. and then that last act is kinda just going back to old islands without doing anything interesting. kinda kinda kinda

like if he could peak out of his egg a little earlier and have some dialogue, some influence on the plot, maybe introduce a couple of reclusa-brand enemies earlier, then it would it be less like some random annoying guy took over the game from the previous villain and more like the annoying guy we all know and love rightfully ascending to his place as the true villain

also: why an egg. that's kind of random, considering how on point the rest of the game's theming is. a seed would make much more sense, especially considering he makes an evil tree

i bet you could have fun dialogue with him being his annoying self and zokket being like "yes, master. your will be done" or whatever and the extension corps could be like "is this REALLY the guy behind the guy we're serving?" could help make their face turn at the end of the game be a little less out of nowhere. oh well, writing is hard and making video games is hard and it's a lot easier for me to say all this in hindsight

i DO like his design and the design of the reclusa-brand enemies. i even feel like his dialogue and personality is kinda (again? argh) fun. but the way he suddenly shows up and takes over everything left a bad taste in my mouth

the final boss has a problem where they wanted it to be an epic multi-phase fight, but they also need it to fit in with the difficulty curve of the rest of the game, so it ends up that every phase goes down pretty quickly and has only two or three attacks, and it all feels less exciting than the fight against zokket, who had a bunch of attacks and survived several times longer than any phase of this fight

while i'm at it, why didn't zokket get a unique boss theme. antasma got one and he didn't do anything. he didn't even do anything

as it stands, i think the game would be improved if it ended at fortress zokket

i feel like i should write a conclusion here but i already concluded it before i started talking about spoilers. i complained here but i liked the game and i'm glad they're making more of these even if i'm still mad about alphadream. odds are high that the next paper mario game will be good instead of bad. that's all i got