#its from the perspective of a teenage son of one of the main characters of that media and it was insane

[lesbians4armand]

i am a firm third person perspective fic writer, and i believe that first person works better in original fiction that fanfic, but the perspective that im always torn over is second person, because it’s either really bad or really good. i strongly dislike reader fics where its “you do x” and its like. i would not do that. but writing second person in the context of “you” being an existing character can be so good. so good

[flowerandblood]

The Prince and The Fox (5)

[ modern! • Aemond x friend! • female ]

[ warnings: angst, violence, swearing ]

[ description: After the events of her childhood, despite her best efforts, her neighbor and the younger brother of her friend Helaena, Aemond, does not want to know her. This state lasts until a house party organized by his older brother, Aegon, during which an incident occurs that will change their relationship forever. Slow burn, angst, toxic ex-Alys, rough Aemond. This is several anon requests combined into one fic. ]

WARNING: The main plot between the characters takes place in high school. Yes, in high school. The belief that teenagers wait with an intimacy when they are in love in high school is ridiculous to me. Aemond and the character here are the same age. Don't ask me how old they are, in my country you are of the age of consent in your first year of high school and an adult in the last year of high school, so if it is more convenient for you, think about it that way and decide for yourself. In this story, I am not following the trail that they are magically friends right away, but how they become friends and what that even means. I'm writing this fic to give the perspective of young, lost people, not adult women who want to see exactly themselves in everything they read. If that's all you expect, this isn't the fic for you.

I don't want whining about this in my comments or asks. I will delete these and block you. You have been warned.

Aemond + Evans Series Moodboard

This is my first story that has its own playlist, but yes! Get in the mood! Story Music Playlist Song used in this chapter: Ooh to be ah (Kajagoogoo)

* English is not my first language. Please, do not repost. Enjoy! *

Next chapters: Masterlist

_____

In the morning, she was woken from a deep sleep by Helaena saying that breakfast was ready and that if she felt like it, she could take a shower afterwards. She rubbed her eyes, not knowing for a moment where she was or what had happened.

She thanked her and swallowed loudly, remembering the scenes from the night before, wondering for a moment if it was real or if she had just dreamt it. She quickly unlocked her phone to see her message history and froze.

Oh fuck.

She pressed her lips together thinking only of how embarrassingly pleasurable what she had experienced with him was, a closeness that probably surprised both her and him.

He enjoyed it.

He wouldn't have done it if it had been any other way.

She thought she couldn't screw it up.

She felt something for him.

She was surprised to see that in the kitchen, besides their mother, was also their father, whom she saw extremely rarely, from what Helaena told her he was often away on long business trips.

"Good morning." She said softly, and he nodded with a smile, swallowing loudly a piece of bread roll he had just taken a bite of.

"Good morning."

She decided to eat something light and settled for cornflakes with milk. She almost choked on them when Aemond appeared out of the blue, apparently he had just taken a shower because his hair was still damp.

He sat down opposite her and gave her a meaningful glance that made her hot, then reached his hand for the pancakes, involuntarily running his tongue over his lower lip.

She remembered the touch of his lips on hers, how soft and firm they were, how well he kissed, and lowered her gaze, swallowing loudly as she continued eating, listening to the exchange between Aegon and his mother.

"Your tutor says you can't concentrate and you're constantly looking through your phone instead of listening to what the teachers are saying." She said lowly, apparently hoping her husband would pick up on the subject as well. Mr Targaryen looked at her surprised and grunted, glancing at his son.

"Is that true, Aegon?"

Aegon rolled his eyes, combing through his hair with an impatient hand gesture, and snorted.

"It's Sunday for goodness sake, can I have at least one day of peace?"

After breakfast she thanked their parents for their hospitality, grabbed her things and decided she would go home, not wanting to take up any more of their time, she had to study for a test on Monday anyway.

Helaena hugged her and thanked her again for the lovely time, she glanced out of the corner of her eye at her brother who was sitting at the table looking at her with an impenetrable gaze.

They had not written to each other.

She wanted to, was even dying over not having contact with him, but on the other hand she thought that she couldn't keep nagging him now, that she had promised herself that she would let it all go at a leisurely pace, that hurrying might only discourage him.

She wondered if he was also thinking about her and what had happened between them.

The next day she got up very early and ran to take a shower, excited to see him again at the bus stop, to talk again. She was afraid that it would be awkward and weird, but at the same time she couldn't get the smile off her face. She decided to wear her favourite black short-sleeved dress with a collar, fastened with big white buttons and topped it off with black trainers.

She showed up well ahead of schedule, however, she couldn't stand to be home anymore out of excitement. She could feel her legs bouncing with excitement as she sat on the bench.

She swallowed loudly when she saw him walking with his backpack thrown over his shoulder from across the street, earphones in his ears as usual. Not knowing why, she got up from her seat as he walked closer, looking at him with big eyes.

For a moment they stared at each other, not knowing how to act, she could feel her heart pounding hard.

He pressed his lips together and looked away, swallowing loudly, without even taking his earphones out of his ears.

Something was wrong.

She didn't know why she felt such a tight squeeze of disappointment when he didn't sit next to her on the bus, but somewhere in the back, sitting with his hood pulled over his head, his forehead pressed against the glass.

He took a few steps back for some reason.

She swallowed loudly, feeling tears under her eyelids, turning the other way, wondering what she had done wrong.

She wiped her cheek with a trembling hand, ashamed that he had broken her heart with such ease.

She didn't seek his gaze or his attention, subconsciously sensing that he didn't want it, trying to focus on the class but feeling only a tightness in her throat and discomfort in her stomach. She thought she wanted to maintain her dignity, that she wouldn't run after him and beg on her knees for an explanation.

If he wanted to move away and changed his mind, so be it.

She tried not to look at him while he and a few other people stood at the bus stop waiting for their bus to arrive. She shuddered, however, when she heard someone say his name, a low, feminine voice.

She turned over her shoulder and noticed how a college-looking girl, much older than them threw her arms around him, she had long, beautiful raven-black hair, she was dressed in a smart, light-coloured coat and long, black heeled boots.

She looked so mature.

"Why aren't you answering my messages? Are you angry with me?" She asked, touching his arm in a way that suggested she knew him very well.

She saw him give her a quick, frightened look, as if he was uncomfortable that she was watching the scene, and then swallowed loudly, tense.

"Not here, Alys." He replied so quietly that she barely heard it.

"Are you ashamed of me?" She giggled, a genuine smile on her lips, her eyes bright, intense green, beautiful.

She felt tears under her eyelids again and turned her back to them, quickly putting her earphones in her ears, not wanting to hear this discussion, turning on 'Ooh to Be Ah' by Kajagoogoo on her phone, feeling the tears run down her face.

She stared dully ahead, wondering if they were together, if she had miscalculated in thinking that he was inexperienced and lost just like her.

She imagined him the way she wanted to see him.

She boarded the bus first, not caring if he was still talking to her or not. She sat down in the first better available seat, and when she saw that he immediately sat next to her she pressed her lips together and stood up, wanting to change.

She felt him grab her arm, felt him say something to her, but she pulled away from him.

"Now do you want to talk?" She growled, not even taking her earphones out of her ears, not even caring what he had to say, walking to the other end of the bus, tired and frustrated by his behaviour, by the fact that he didn't know what he wanted, by deciding for himself when they were supposed to talk and when they weren't.

She wasn't a toy but a human being who felt.

She figured real friends didn't behave like that.

She waited until everyone had left before heading for the exit and saw through the window that he hadn't gone home but was waiting, his earphones hanging by his neck from under his sweatshirt. She squeezed her eyes shut, sighing heavily.

Fuck.

She stepped off the bus, pretending not to see him, but he immediately followed her, grabbing her by her arm, turning her violently in his direction, ripping her earphones from her ears.

"− what −"

"− can you fucking wait? − I'm talking to you −" He growled, and she pulled away from him, frowning her eyebrows, furious.

"Just an hour ago you were pretending you didn't know me, my friend." She said with a sneer, turning away from him again, his hand again on her arm, this time clenched much tighter.

"That hurts." She muttered as he turned her again violently, holding her wrist, his jaw clenched, fury in his eyes.

"− just − just stop for fucking second and listen − okay? −" He asked, and she sighed heavily, looking away, standing still, feeling like her heart was in her throat.

She didn't know if she wanted to hear what he had to say.

"My ex-girlfriend texted me last night saying she wanted to meet me. That she misses me. I couldn't recover from her for a long time. I didn't know anymore what or if I felt for her after everything that happened between us… you know. Fuck. I just wanted to think it all through. Alone. And instead of giving me time, like you did, she came to our school nagging me. Okay?" He asked lowly, leaning over her, and she looked at him with a pained expression.

"Whenever you have to think about something are you going to pretend you don't know me? Don't worry, from me you will never experience nagging. I don't want a friend who cares only about his comfort. I will not be your secondary solace. I regret everything that has happened between us." She said with pain and disappointment, pulling away from him and moving towards her house without looking at him.

It took me a long time to recover from her.

I didn't know how I felt.

He still loved her.

He still loved her, and yet he himself proposed that she stay with him, that she kiss him.

He wanted to see if it would feel good with another girl?

To feel better?

She threw herself down on her bed as soon as she got back into her room and burst into loud sobs.

She felt used.

She believed him.

She believed him to have pure, sincere intentions.

She pressed her lips together as she saw her display light up in the evening, the screen showing that she had received a new message from him.

She shook her head and went back to reading her textbook, not wanting to talk to him, not wanting to listen to his explanations, not wanting to be his friend or anyone else.

After half an hour, however, she got another message and then another and sighed heavily, heartbroken, wondering why he suddenly cared. She figured he wanted her now because she didn't need him, but if she just got his interest back then he would pretend not to know her again.

She reached for her phone and unlocked it, going into her messages with a pounding heart.

She pressed her lips together reading his last two messages and swallowed loudly, feeling hot in her stomach.

I told Alys I'm sorry, but for now I want to focus on a relationship with someone else and by that someone I mean you.

Oh shit.

What was she going to say to that?

She sat and looked at the display, panicked.

She herself no longer knew what she felt, what she wanted.

She shuddered when suddenly a new message appeared below previous ones.

She closed her eyes and tilted her head back.

She decided she would do just that.

That she wouldn't answer him, she would just think about it.

Let him know what it was like.

The next day it was he who was already waiting at the bus stop when she left the house, as soon as he saw her he immediately pulled his earphones out of his ears, looking at her with wide eyes. She walked up to him and they stood like that for a while in silence.

"…did you get my messages?" He asked lowly, uncertainly, and she nodded. He swallowed loudly and hummed, as if he was thinking about something.

"Shall we go truant?"

____

Aemond Taglist:

(bold means I couldn't tag you)

@its-actually-minicika @notnormalthings-blog @nikstrange @zenka69 @bellaisasleep @k-y-r-a-1 @g-cf2020 @melsunshine @opheliaas-stuff @chainsawsangel @iiamthehybrid @tinykryptonitewerewolf @namoreno @malfoytargaryen @qyburnsghost @aemondsdelight @persephonerinyes @fan-goddess @sweethoneyblossom1 @watercolorskyy @randomdragonfires @apollonshootafar @padfooteyes

[colorful-white-ideas]

Is Bill Skarsgård only in remakes ?

This will be long. Really long.

After the relase of The crow 2024 , a lot of comments have surfaced saying that Bill only do remakes and nothing else. That he is where he is because of nepotism and that he only plays dark characters.

How about we review his trayectory according to his imdb page ? Lets see his eldest credit, how long it took him to position himself in america ( his big break) how many remakes has he done and what genres he explored.

If we go all the way down we will see that his career started in Sweden. His first credit come from the 2000's movie Järngänget where he worked with his brother Alex. Bill was 9 years old aprox. Since then he worked ocationally until his teenage years ,when he took the job more seriously , in consecuense he started to gain fame for himself in scandinavia, even nominations for some roles. Like with simple simon (I rymden finns inga känslor)

In The crown jewels ( Kronjuvelna) we have Alicia Vikander and Bill skarsgard sharing the screen, both are swedish, and later both participated in the 2012 american adaptation of Anna Karenina (Leon tolstoi novel) sadly for Bill ,being Stellan Skarsgård son did not help his small role from being cut out of the movie. Alicia is the one who gets her big break from this by playing Kitty.

Role: Captain Makhotin

But things don't end there, he may have not done it in american movies yet but he did land the role of the vampire / upir Roman Godfrey in Hemlock Grove (series), another adaptation from a book with the same name, on netflix ( small streaming plataform in the early 2010's) he did a total of 3 seasons.

In 2016 he gets another small role but in the Divergent series , in 2017 Atomic blond ( as Merkel). Now it's in 2017 at 27 years old when his first remake and big break comes: IT (pennywise) . But first lest define briefly what is a remake?

wikipedia says: A remake is a film, television series, video game, song or similar form of entertainment that is based upon and retells the story of an earlier production in the same medium—e.g., a "new version of an existing film".A remake tells the same story as the original but uses a different set of casts, and may use actors from the original, alter the theme, or change the flow and setting of the story. A similar but not synonymous term is reimagining, which indicates a greater discrepancy between, for example, a movie and the movie it is based on

It is a novel by stephen king ,the first adaptation was for tv miniseries of 2 episodes in 1990 with Tim curry as Pennywise. In 2017 another adaptation is released and here is where we open the main debate: The 2017 movie was a remake or another adaptation? I guess is matter of perspective, while is true that the first popular reference we have about the subject is the 90'series , the new production based his storyline and character design in the book... So if you are more familiar with the book you'll call it an adaptation but if you have never read it then it'll be a remake "with differences".

The contrast beetween both vertions of IT is too big to consider the latter ( 2017) a re-do/ remake of the miniseries. You can notice that just by the approach Bill and Tim took on Pennywise. Tim's version was more human, a psycopath like in John Wayne Gacy-esque type. Bill's was a monster, not one trace of humanity in his character, it was out of this world and enjoyed playin/ torturing its meals cause it tasted better basically.

My own take is that IT CHAPTER 1 AND 2 are not remakes of It (1990). But due to pop culture they are considered as such.

Between the IT- MANIA he was in the following productions: Battlecreek , deadpool 2 ( short role), Villians, Assasination nation and Castle rock ( series). He also participated in shortfilms like: A stone Appears, Alteration and Do you like the taste of beer?

Is in castle rock where he plays another creepy role as the kid .For battle creek he is an artistic vulnerable depressed dude. In assassination he plays a misogynistic teen asshole. And with Villains we see him explore his comic side.

This is what I would like to call the transition period, besides Deadpool and castle rock, all the projects previously mentioned are in some way small projects , that he for some reason decided to take on ,maybe for scheduling reasons cause by the end of 2019 IT CHAPTER 2 was premiering.

2020- 2022

The pandemic hit and changed things, he losses momentum. The whole industry was shaken actually. Movies that were supposed to be released in cinemas went to streaming, projects were cancelled and others got delayed.

For example Bill was set to work in The northman with his brother Alex again , he was already in Eggers radar, but due covid he had to drop out: Here

He left that project because something else was scheduled: Clark. (netflix nordic) a series he helped to produce too.

From this time we got Nine Days, The devil all the time (one of his best works and one of his most underrated film. He plays Willard a traumatized ww2 veteran), Soulmates (a series - one ep. He plays a uptight gay man who finds love while vacationing in Mexico), Naked Singularity ( he's an lawyer with adhd and a weird obsesion with ears) , Eternals ( KRO) ,Barbarian (horror movie where he is just a good guy who's in the wrong place at the wrong time )

By this time he was still under the shadow of " pennywise" but he had built a reputation for himself, he was a good actor before the critic and public that followed his work. Not as popular as Alex ,for example , but he was known by now.

2023 -24

After the pandemic we enter the period I woud like to call : COMEBACK.

The projects we find here are more "commercial" because these are action films, which is not bad , it was about time, most of his films usually dont get too much of exposure or are small projects. If someone said Bill Skarsgård automatically people thought in the clown 🤡 and not in Kro, mickey, willard or Clark for example. So we see here some sort of rebrandig he's now a killing machine, a cartoonish villain and anti hero.

John wick 4.

This offer came to him thanks to a previous work he did in Atomic blonde. Chad stahlesky let him choose what character play ( here) , and he went for the bad guy. A cartonish kinda old school villain , with funny accent and great suits: The marquis de Gramont.

Now, a very common observation people do is that roles are offered to him and his just takes them. That he is like a passive actor who only plays what he's tell to play, but since Pennywise he has always talked about how much he gets involved in the making of a character. The marquis was not the exception. That annoying accent was , for example, his idea. here more about it

This participation was a breath of fresh air, and brought new eyes to him. New fans arrived, people saw more of his work and he stepped a bit away from the IT shadow. Later was confirmmed that his next project would be BOY KILLS WORLD a pure gory action film with some comedic touch for which Bill prepared hard.

Moritz Mohr: Bill is a terrific actor. The only thing we weren't sure at that point was, "Can he deliver on the action?" He basically just promised, "No, I'm gonna put in the work, I'm gonna get ripped, I'm gonna train, and I'm going to learn the choreography." Which is a huge commitment, because it's just months and months of training and rehearsing, and I'm so glad that he did it. He overdelivered sometimes, he was really committed to it, and I'm very lucky that he was, because I think the results are just phenomenal.

In BKW we see Bill has good comedic timing, as if that wasn't clear with previous projects like Villains , but here he delivers comedy without talking. Conclusion : he can also be funny.

So far we are very into 2024 and NO MORE REMAKES in sight for him besides IT and we have talked about how many movies- series ? Almost 20 since his first big job in America (Hemlock G.)

The recent fame of " remake actor " comes from the next two jobs he landed. The crow 🐦‍⬛ and Nosferatu. 🦇

The crow 🐦‍⬛: How Bill got the script on his hands? it was given to him because he is known for remakes, because of his lastname , because no one else wanted to do it ? Luckily for us , Empire magazine tell us the following:

The project was conceived to be a separate work from the 1994 movie the crow, the source of inspiration was THE CROW graphic novel of J.O Barr. Again, by this and more interviews around we see Bill as an actor who played and active part in bringing a unique version of eric. From the physique ( something he kept from filming BKW) to the aura he's nothing like Brandon lee's Eric Draven.

The big differences between the 2024 and 1994 version, are confirmmed now after its release with heavy critics of people claiming it to be a "bad remake cause it looks nothing like the original " Here I ask rethorically , so is Bill a remakes actor or not?

Remakes are in full force lately, examples are whatever Disney has been doing lately, the ghostbusters, robocop , etc. Movies that go frame by frame , super close to their media source.

The same way Dune 2022 is not considered a remake of the 80's movie , The crow 2024 shouldn't be considered one either. Not even IT. Because, primarily, the source material is not the previous movie or series, but a book or a novel. So the best term to use is , I believe, adaptation or reimagining.

But what about Nosferatu?

I'm glad you asked random tumblr reader. I'm almost finishing and this is where I want to suggest that this upcoming film is actually the first remake Bill Skarsgård has done.

Robert Eggers ( director of this new remake ) shares with anOther magazine, that he planned to film Nosferatu after The witch , that's how he met Bill , who was 25 by then ( at 25-26 he was also auditioning for IT) . Eggers recalls Bill's audition being excellent for Hutter . Unfortunatelly the project fell but they stayed in contact and planned to one day work together , Bill was later set to work in the northman , we already know how that played out.

As we see here Bill was the one trying to get the opportunity to work with the director, having another role in mind ,until Eggers proposses to him the opportunity to be Count Orlok thanks to the work he did as Bob Gray in IT chapter 2.

Eggers knew about his capacities as an actor to embody darkness while having a youthful and pretty exterior that's why he tought of him as the right choice for the project.

Once again we read an interview that highlights the joint work of the director and Bill on the character, from the psyque to the make up. He was very proactive, long conversations, audio tapes, isolation, voice coach , etc. All of which finally paid off

Bill Skarsgård has proven his desire to become a versatile actor, just by reading his imdb page we see a variety of works forming his resumee , but he has a particular preference for dark, scary , creepy roles. In this review since the Hemlock grove days he has played a total of 7 obscure characters ( from antagonist to conflicted ones). This alone is not bad, and they aren't that many either. Every actor have a genre they prefer , characters they feell more pulled to work with. Bill is a goth king and I respect that.

His career itself also proves to be the result of organic growth, although he was lucky to be part of one of the most successful and respected acting families in sweden , that alone couldn't have granted him is current success. He started in America with a small show that most people haven't heard of till this day, and was in his late 20's when he got his first big opportunity. He sent emails, he sent tapes, he auditioned, he gave his word promising to deliver a good job. He works his ass off for what he wants. He doesn't seem to be the classic textbook nepobaby.

That's why I think that considering him just a remake actor is unfair and narrow minded. Said statement reduces a still growing career full of exploration to just opportunistics cashagrab roles ... and this guy is far from being that. Also because not everything that shares a tittle or character's names is a remake. It dependes on what the creators are having in mind for the new work.

That's so , after reading the most recent AnOther magazine interview , that I came to the conclusionI expressed before: Nosferatu is his first remake . Both Bill and Robert Eggers have always in mind the 1922 movie as source of reference and they worked Count Orlok and the story around that.

He's still a rising star, and has a lot more ahead, im confident the general public will see what directors and fans have seen in him: A good mfucking actor who wants to leave a mark but in his own terms. Taking risks , exploring, chosing roles that may not look right for him but always improving himself to expand his potential and keep taking on new and more promising challenges.

Its intersting how everything connects , IT oppened the door of Nosferatu. After all the issues that came to him at the right time , and I can bet my left arm he will deliver !

*Im sorry if this was too long it took me 2 days finishing it ,i'll go to sleep now .

[magicalchaosnut]

My English class TED Talk script

TED Talk Title: Why We Shouldn’t Become Soup

Neon Genesis Evangelion is an anime that covers the relationships between several people with volatile personalities in a post apocalyptic world, uniquely fighting otherworldly beings while returning to the womb and experiencing intense pain, and suffering through their view of themselves and their idea of others’ perspectives.

The buildup of the series comes to a climax during the movie, leaving some philosophical questions to ponder over. For example, the Human Instrumentality Project and a look at whether individuality is a gift or a curse by showing the alternative: eternal togetherness or unity. Once this project is put into motion, all of humanity is subject to be a sea of ‘LCL’; soul fluid that melds into one eternal ocean of consciousness. The reason for this is the universal fear of loneliness, which was touched on earlier in the show with a discussion about the hedgehog's dilemma: the fear of hurting other people the closer you get to them, similar to a hedgehog trying to find warmth amongst others in its species during the winter.

Shinji shows this fear by continually running away from his caregiver, Misato, and his responsibilities as a pilot because he doesn’t want to get closer to the other pilot, Rei Ayanami, who he has started to care for. This is similar to his father, Gendo Ikari, and his fear of being a poor father. Instead of getting closer to his son after his wife’s death, he leaves his son behind which damages him more than his father’s presence would have.

Misato, the most recurring adult main character in the show, is afraid of getting close to Ryuuji Kaji because she is confident that she cannot open herself to him. Her personality is so cheerful on the outside, when in reality she has been stuck as a little girl who was sent away by her father who died in a nuclear explosion. She is afraid that Kaji will be like her father and leave her to fend for herself, and that she will be unable to reciprocate his feelings in the way that it matters. Ultimately, he dies and leaves Misato alone. Her fears are confirmed, but she is able to brave them through the closeness of Shinji as her pseudo-son in her final moments.

Asuka has a fear of others as well, taking it out more violently than Shinji by forming relationships where she thrives off of her superiority complex (which is really an inferiority complex) and can be considered the best. As she was a child prodigy who graduated college at age 14, she has all of the knowledge of an adult but little of the maturity that is expected of her, making her the extreme example of being a teenager: having all of the burden with none of the respect of experience that others want you to have already. She gets close enough to Shinji to be in sync as a fellow pilot, but never talks about her true drive to be considered good enough: her mother committing suicide while holding a doll of her, symbolizing that she wasn’t enough for her mother to stay alive for and would be more beneficial if she had been exactly as her mother wanted.

The will of God was sent to turn everyone into LCL to rid all people of the inescapable loneliness that they feel because they cannot understand each other. Like the angels before humanity, that are single entities of a species and nothing more, becoming one in the ocean of consciousness would eliminate loneliness and the social suffering that so many people in the post apocalyptic world fear. To retake the importance of being the central descendants of god, humanity feels they must ascend individuality. But in doing so, there is an infinite amount of unwavering suffering and no amount of time to alleviate the pain of one's sense of self when there are no other selves. Similar to how we can fight with our family members, but if we were to be only one self, we would be alone. You can’t be a family if you are just one person. In an effort to curb the societal loneliness felt by an entire population, the will of the few has caused an incurable loneliness that rids all of humanity of the chance to love another and try to understand by turning everyone into one thing. In summary, it is better to suffer for the sake of possible happiness and hope that you will understand people and make friends, than it is to give up and wallow in your own solitude.

The movie ends with Shinji understanding the sacrifice to live as an individual, which is the loneliness of consciousness. He lets the rest of the sea of consciousness decide whether they live for opportunity rather than be essentially comatose in an emotional stasis. The message of the series is that it's better to be lonely and try to be happy than it is to give up and be nothing at all. Even if everyone is unified in that nothingness.

[poindexters-labratory]

Explaining FNAF: Hurricane Pt. 1: Before the Storm

Having special interests in FNAF and human nature (especially its oddities) can apparently have adverse effects on a subject. The subject being me.

(Warning, there's a lot)

I have autism, the kind where I get super invested in a niche and can never let it go for just about years on end. My niche is William Afton and his family which has been combined with my trivial knowledge of mental health, mental conditions, neurodivergence, history, storytelling, psychology, etc. to create this conglomerate clusterfuck that is the Hurricane AU.

The alternate universe at its core focuses on the father-son dynamic between Michael and his father William. There are six parts to the Afton Family arc:

Wild Cat

Before the Storm

Blood, Sweat, and Tears

Freddy Fazbear's Pizzeria

Freddy's Emporium

and Reunion

I'll infodump about Before the Storm because that's the first one I mentally created and what I have the most art of.

The lore aspect of FNAF isn't apparent at the moment, that will come later on after the characters are properly introduced with all of their flaws, quirks, positives, negatives, and before the catalyst of the whole plot kicks off, starting from 1980 and ending in 1983. This introduction/rising action section has been dubbed what it is called because Hurricane, Utah and I'm a smartass.

Everything in the Hurricane AU happens very slowly at first and when it kicks off, it shoots like a fucking rocket. It's the small details that have the biggest impact for this first section in order for the rest of the story to make sense, especially why things happen the way they do.

Let me introduce you to the family,

Michael Afton:

Oh, yeah, he's a teenager. Cocky, argumentative, confrontational, and the main character of the entire AU. Before the Storm follows him through his upper teenage years: 15 - 18 (fifteen to eighteen). This guy can fit so much resentment in him. He's also inherently kind, artistic, and stubborn in both a good way and a bad one. His mom left with his baby sister when he was thirteen (13) years old and noticeably hasn't been the same since then. Highly embarrassed of what's left of his family (especially his effeminate, odd, and immature father) plus lack of at-home attention has led to a lot of stunts. He's by no means a hateful person, but he doesn't have the ability to express his unhappiness in a proactive way.

Evan Afton:

A rambunctious elementary school kid. As Michael's kid brother, it's his duty to annoy the shit out of him, and as William's middle child, make him fear for his son's life at times. He isn't careful, so accidents happen a lot with him, see the road rash scars on face, arm, and leg. Through his section he's 7 - 10 (seven to ten) years old, and deals a lot with school, peer, and at-home stress, but he's a generally happy child. He isn't without his quirks, Evan is loud, mean, destructive, and likes to deal with his problems very physically (he's a fighter). Evan deals with night terrors every so often, has some twitches and tics, and by god does he have a temper.

Elizabeth Afton:

Lizzie is far more used to privilege and a quiet home, coming from an estate in London, living with her mother for the six (6) years of her life, but the first summer over to Utah in 1980 led to the interesting discovery that she could be loud, messy, and by her mother's terms, 'un-ladylike'. She provides an outside perspective into a household that has music constantly playing, an argument or fight always happening, and a mess somewhere. She's highly energetic, imaginative, and friendly. Michael had no problem sharing his loud and argumentative nature with her, making her a handful when she comes around.

And William Afton:

Co-owner of Fredbear's Family Diner and Fazbear Entertainment immigrated from London, William has a lot of loves: his children, Henry and his mind, creating whatever he can figure out, and rabbits to name a few. He feels everything with a fierce intensity, and he'll express the intensity. That's typically where problems arise. Especially between him and Michael. Their arguments are usually about not understanding the other. William is a troubled individual, but he does his best to make good choices, but he slips in his decision-making very often. He's chaotic, spiteful, intelligent, energetic, and kinda funny to watch per Michael and Henry's fair opinion. He's fairly young, 32 (thirty-two) years old circa 1980, and at times, acts like a child himself.

Before the Storm has a soap opera feel because the main plot hasn't started, but there's still a lot of backstories to explore and character dynamics to introduce before they're whiplashed by tragedy. The section is treated as a control for what is going to change in on-coming parts. I also just wanted something that felt good with all of the rest being angst.

A tragedy as big as losing a child can take over lives, (especially in a sudden accident) and the family in Before the Storm are the lives that it took. So, this part is an inside view into what exactly was lost.

Feel free to ask me questions; encouraged, really, I love to talk about it. A lot.

[ohmaerieme]

very curious about ms locs 👀

RAMBLING TIME!!!!!!!!!!!!!!!!!!!! me at the oc yapping competition (i get 1st place)

HER NAME IS HONEY.. she is 38, human, any pronouns, lives in the outskirts of a small town in a southwest continent on his planet! her and the other oc (blue) are both in the same oc universe that i call WANDERVAST .. and they are .. also in love .. smirks THEYRE NOT. THE MAIN CHARACTER AS IN THE STORY IS FROM HER PERSPECTIVE. likeshes a main character but its not from her pov so shes not The main character

honey is a descendant from a tailor who was in love with the goddess of morning, who was given a magic sewing needle and infinite thread (that can sew anything shut forever blah blah thread is made from sunlight) from said goddess. VERY LONG LORE STORY CUT SHORT. the people thought the tailor had betrayed the goddess and executed him, and that magic sewing needle and thread was passed down to his sister and then to her descendents who were all seamstresses/tailors/there were a few doctors too

ANYWAYS. in universe the 'start' of the story is when the sun cracks open, casting the shadows inside over the world, and blue (who was living inside the sun) crash lands near where honey lives. queue honey realizing that Oh Hey! my family heirloom could probably save the world!!

but honey had moved away from home and kind of abandoned the heavy 'we must carry this sacred heirloom with us forever its a gift from the goddess' due to. what started as like a regular teenage rebellion thing that evolved into a really deep alienation from her family from being queer and also i gave him hella mommy issues okay. i just had to

some other stuff about honey though.. she has a psuedo adopted son HIS NAME IS CYPRESS.. they met him when he was 11 and was without parents and just kinda kept seeing him around the town and its a very.beautiful slow burn found family thing. .. and cypress follows honey and blue on their journey but stays behind at some point because he falls in love and needs to help them rebuild their aquatic civilization because their queen went insane from being trapped in the suns shadows and is now recovering🙄 average love story, u know how it is.

but one of honeys most. important traits that i rly REALLY.NEED TO SCREEAMMMM ABOUT. is how much they love the world itself. they love every blade of grass every rainy day every cold and humid morning when the bugs are still around and fly in their face. he LOVES. the world. and on their journey they share that love with blue and it falls in love with the world too. and thats really what brings them together in the end the fact that they love this precious big world so much.

there isso much more abt this ocverse in of the story itself but. no. i shant go on.. unless.

[rpgchoices]

Sometimes I really want to read a short summary of what to expect from a game… and thankfully people can also submit their summaries of games they played and help me (and others) find games that cater to their interests!

submitted by @lairofsentinel

(click here for other videogames)

what to expect from ROAD 96: Mile 0

Story-driven game with little to play, and more about picking options. 

This game is a prequel of Road 96. Here, we understand Zoe’s background in detail and the reason why she, as the daughter’s Petria’s oil minister, left the main city.  Zoe is a character we met in the previous game I've talked about before.

You play with 2 teenagers: Kaito, the son of an exploited working class parents, and Zoe, the daughter of the country’s oil minister. There is no customization.

In this game, we are focused on the City of Petria, a fantasy mixture of north of Mexico and communist Russia, where the tyranny is led by an “elected president called” Tyrak. Mainstream media is completely bought and altered by his party. I have done a criticism about the first game and the real world countries that inspired it. Nowadays, ironically, everything that was done as a criticism of communism [for example, Orwell’s stories] applies perfectly well as a criticism for capitalism, so I’m torn about this game and where it’s aiming for, specially when you know it's a French production.

It’s needless to say that this game has a high content criticizing our current democracy systems. There is also some room for questioning fanatic behaviour in either side: fascist fanatics as well as revolutionary fanatics. One can agree or disagree with the content of this game, but I like how it stimulates your thoughts and your questions.

Its narrative is a lot simpler than in the first game.

We find and meet some of the characters we saw in the previous game too; like the only reporter of the city, Sonya; the kind policewoman Fany, the tired revolutionary John, or the genius kid who is on the road, Alex.

The game loosely presents the previous game’s  3 alignments: revolutionary, moderate, and mainstream. But they seem to be less tight than in the previous game.

This game has a lot of minigames that may end up being very annoying. 

Among the minigames, and as transitions between big acts in the storytelling, we have something called “rides”, in which Kaito and Zoe do a race in high speed in skater or roll skates. Despite being a beautiful, artistic resources, in which we are delighted with amazing music, fast-pace movement, colour and aesthetics according to the part of the story we are exploring [therefore, it has deep meaning and symbolism], they tend to be performed a bit off. There are a lot of camera changes you don’t control that make these rides a bit more challenging that they should be. For a nice compilation of all these rides, check this video [tons of spoilers, though]. I personally love this ride in particular, when the same tyrant politician who developed a police state a la Big Brother and controls and exploits the worker class to death in oil towns is elected again for 10 years more. 

The game has decent graphics without asking you to have a NASA computer. 

Game fully voiced.

Several different endings, I can count around 9, depending on the last scene choices, which are available depending on how much reputation as revolutionary, moderate, questioning or mainstream you were along the game.   

Short game, around 5 hours of gameplay.

——- Plot? ——-

You play as Zoe or Kaito, living in the city of White Sands, where the president, the oil minister, and the flashy reporter Sonya live. The main plot revolves about the friendship between Zoe and Kaito, and how the class difference and reality affects their perspectives and relationship so deeply. 

——- Gameplay? ——- 

You interact with the NPCs and the environment in a way that increase or decrease your moderation, mainstream support, or revolutionary views.  Sometimes there are boring, annoying mini games as the story progresses.

——- Characters? ——- 

Mainly Kaito and Zoe. 

 ——- LGBT? ——-

Nothing, so far I perceived. 

——- Sadness level? ——- 

Low, but keeps you thinking.

——- Happy ending? Deaths? ——-

There may be deaths depending on your choices. The endings are always bittersweet or bad. Zoe always leaves the city since she is found in the previous game on the road.

[jeffersonhairpie]

One of the YouTube comments of all time oh my GOD

Found on this video

[Image ID: A YouTube comment from user @sire-dame-sander It reads:

Image 1

as promised here in MY Insane Cats Fandom Story. formatting this greentext style bc it’d be fucking unreadable as a big block of text - be me - cats the musical fan, dumb teenager - in groupchat with several other cats the musical fans - our number one group activity is keeping up with this one fanfic, “the silver protector and me” - it’s 70k words of munkustrap x the author’s self insert oc - from the moment you pick TPSAM up it’s not great from a writing perspective but the further you read the more unhinged the plotlines get - everyone can shapeshift into normal cats with no explanation. the main character is french n everybody else is incredibly aroused by it. all the girl cats frequently body shame the main character for being too skinny. the love interest is abusive towards his son because he thinks he might be gay. there’s a bunch of sex slavery just like an insane amount - this isn’t really that alarming to us. obviously the author might sort of be goin through it but at the end of the day it’s just a fanfic - however. there is also an author’s note at the end of every chapter where the author (we’ll call her jazzie after her self insert) shares wayyyyy too much about her life - we learn a bunch through these. she’s british. she has a terrible ex. she loves the guy who’s she’s currently dating but he hates cats the musical. she’s been to cats the musical 115 times. she has a 7 year old son - she also links her instagram + tumblr. maybe this was a dick move of us but being teenagers we check them out - jazzie’s instagram is pretty normal other than the fact that everyone but her looks miserable in every photo - whatever. they might just have resting bitch face - jazzie’s tumblr is CRAZY - we discover that she’s been in several bona fide large scale scandals - you name it jazzie has posted it. most recently she’s gotten in trouble for comparing the traditional body modification of various unrelated african cultures to, and I quote, “dumb bimbos getting too much plastic surgery” - she’s also fighting on a daily basis with people who hate her fanfic over its various Issues, including one heated debate with an actual sex trafficking survivor - about a week after we start checking in on jazzie’s tumblr, she posts that she’s going to be taking a break n moving all her mutuals into a discord server - this server will also house the live drafting of new chapters of TPSAM - being idiot teenagers we decide we HAVE to get into this server to watch TPSAM get drafted live. its siren song is far too strong for morals to assuage us - in an attempt to gain mutualhood before jazzie leaves for good, I create my cishetsona - her name is abi n she’s a 17 year old girl living in indiana who loves only two things: cats the musical and her homophobic 23 year old fiancée who works in his dad’s garage - she’s a closet tuggoffelees shipper as well but she openly ships mistoffellees/victoria (which is for some reason the default straight ship in cats even though victoria canonically hooks up with plato. no I’m not sure why either) - abi begins participating in the cats the musical fandom by posting annoyingly heterosexual content - within one (1) week, this has gotten her into jazzie’s discord - a few of my co conspirators have played the same trick. there’s maybe four or five of us in there - inside this discord we are exposed to fandom drama we never even knew existed - jazzie frequently complains to the server about her current boyfriend. she hates how much he dislikes cats the musical, n hates even more that he’s always telling her to pay more attention to their kids (plural) instead of writing cats the musical sex slave fic - do you remember how I only mentioned the 7 year old son earlier. this is the first mention we hear of another kid - the next day something terrible happens

Image 2

- we MEET the other kid - he is 12 years old n he is a SERVER MODERATOR - this means he’s been fully privy to the active drafts of his mother’s super explicit cats the musical sex slave fanfic - apparently nobody on the server was aware this moderator was jazzie’s son either, because her genuine mutuals seem just as shocked as we do - at this point one of the real mutuals snaps n tells jazzie that while she loves TPSAM, kids shouldn’t be anywhere near it. a good half of the server enthusiastically agrees with this - jazzie takes this as a personal attack on her parenting abilities n the server fucking implodes - a couple days later the whole thing gets taken offline - abi gets a message from jazzie apologizing for the whole situation n thanking her for not attacking her like everyone else - I don’t have the energy left to tell her abi isn’t real, so abi says “thank you. it’s no problem” - there is brief discussion of reporting jazzie to some kind of authority, but we decide that’ll probably only make it worse for her kids, so we don’t - we figure she got the message to not involve her preteen son in the drafting of her sex slave fanfiction when all of her friends left her - TPSAM has not updated since. I really hope it’s because jazzie stopped neglecting her kids for it - it’s for the best she stopped. I hope her family is doing better now - but frankly I’m a bit sad we’ll never get lines like “can I cum in you?” “oui!” ever again

/End ID]

[abbymorla]

Neon Genesis Evangelion 3/18/24

I find it to be a bit of an oxymoron that "angel" is the term describing the antagonists in this anime series. It is kind of interesting that they are portrayed almost like biblically accurate angels minus you know killing half of the human race. I digress, this anime as well as many others that we have watched makes Tokyo appear as if it is the center of the world or even the only place on Earth. It seems as though this UN group is based out of Tokyo, serves Tokyo, and everything happens in Tokyo. Another thing that I noticed is that this anime utilizes teenagers as the protagonists. Why is it that children are always the ones responsible for defeating bad guys? Where are the adults? And why do the children constantly clean up messes left behind from the adults, government, etc. I hate seeing the estranged father asking their son to do bizarre things trope. Like bro. You haven't seen your kid in years but you expect them to defeat enemies of the human race. Kind of reminds me of Gundam. I can appreciate the way that the show depicts Shinji's distress by giving flashbacks alongside visuals of what is currently going on around him.

"The angst and anger oozing from Neon Genesis Evangelion, and its depiction of betrayed and vulnerable youth inheriting a world that is already destroyed, almost demand a reading of it as a product of the anxiety sweeping Japan in the 1990s". This exerpt from "The Evangelion Boom" puts into perspective the feelings of the main character Shinji for me. Not only is he being tossed into a group that is intended to to save Tokyo, but he is also forced to speed run his emotions. It is abundantly clear through the imagery in this anime that there is frustration in regards to the situation.

I would very much be interested in picking apart the film further to analyze and understand the religious references and imagery as well.

[pufferfishguy44]

*taylor swift song title*

yes that’s the title

LI: love interest

MC: maine character

MC-H- hero identity specifically

MC-C- civilian identity specifically

sorry about typos, there will be many

*taylor swift song title*

in which a long standing city superhero must learn how to trust and love after losing many of the people in their life, and living a dual personality for decades

nb/nb

first person/switching perspective

angsty adult is seen breaking up with someone, walking out of the room, jumping out the window and flying/swinging/zooming/kachowing superhumanly away

switch to

mind-numbingly angsty teen is seen losing

parental figure/lover/someone important and absolutely losing it.

flash back and forth from adult to teen until their stories converge into one person, now u have backstory

LETS 👏 DO 👏ABANDONMENT 👏 AND 👏TRUST 👏IISSUUEESS 👏 HELL YEAHH

pt. 2

adult hero with A👏BAN👏DON👏MENT issues is bitter and stuck in their ways. sure nothing is going to change, especially since the death of their soulmate, they’ve lost all hope, becoming more and more brutal in their methods of vanquishing villains and criminals. morally grey, only stopping crime bc they feel its their job

NEW POV enter: well meaning, but clumsy, ND, love interest, who is a new hire at the workplace of the civilian identity. CI=head of big company maybe? high ranking big job bro? possibly assistant to MC-C. bubbly and naïve, but also demonstrates incredible information recognition skill, proves to be cool under pressure, VERY STRONG SENSE OF JUSTICE, biggest fan of MC-H

slowly grows on MC-C, despite annoyance at first

fluff scene, fluff scene, daily routine, fluff scene ALTERNATING POV’S THROUGHOUT

holy shit look LI is cAtChiNg fEeLiNgs and

MC is too, but is super scared and wont admit it. no no no i always hurt ppl, etcetera, im a burden blah blah blah, keeps trying to distance themself yadada bUT LI keeps pushing the two of them closer, even if it’s totally by accident and LI’s just autistic lmao.

PART THREE!!!

LI, finds out the secret identity of MC by accident, confrontation, omg its you aaahh!!! my hero!! holy shit!! MC takes this as disgust (?? gay ppl are dumb dont ask me), panicks and distances themself, and in the panic and lack of control, trauma from losing first love, breaks up and leaves. 😮. noone physically sees them for two, three agonising weeks

LI’s bsf has to listen to this, she’s the bisexual fat POC icon who runs the goddamn world while providing comic relief for you poor sluts out there

annnnd thats the end

just kidding!

angsty angsty angsty angst intensifies, both of them torn up, its my fault its my fault waaah i have the mindset of a 15 year old who failed drivers ed aeaeaeaeaeaeae

MC: mumford & sons i fucked it up this time

LI: youre hot and youre cold youre yes and youre no, but i cant stop loving you oh whoa

youre in and youre out youre up and youre down, but needless to say im hooked. *epic pop-punk ballad*

LI’s perspective:

theyre never coming back theyre never coming back theyre never coming back theyre never coming back theyre never coming back oh shit wait they came back

*apologies*

BUT WAIT! THERE’S MORE!!

“im so sorry it was all my fault i never should have fallen for you in the first place. i always end up hurting more people than i save. you should forget all about me and go on to live the best life you can. i do nothing but wrong people, please just walk away whilst you can. i-

*gets kissed*

“what are you doing??”

“what you told me to.”

“i said to go live your life!!”

“you are my life”

“why?”

“because i really like you, dummy. was that not obvious??”

“you what?? but all i’ve done- i’m not- you like me??” (a/n: this fuckin teenager)

“of course. i know you havent been perfect, but neither have i. we’re human-“

*look of objection*

“dont start, alien. just because you can kachow around doesnt mean you have to have everything figured out. you need time to figure out how to love again, and im willing to be there for the whole journey, be it the good, the bad or the extraterrestrial.”

achievement unlocked: therapy

montage of fights, and makeups, smut and breakups, both loving with their whole broken souls, each trying to heal the other, until the day they die

post credits scene: we find out LI ran a blog about MC-H’s activity, analysing every fight, rescue and recovery to see the evolution of the hero.

new post about how the MC-H fighting style is much different than anything else theyve seen in the past, maybe the MC-H finally met somebody ;)

and fucking scene jesus christ my wrist hurt and ive been writing over an hour holy shit this was supposed to be a two sentence idea for a plot

[nontacitare]

Once Upon a Time season 1 reaction

I just finished a rewatch of season 1 of Once Upon Time, and it held up remarkably well. If you haven't seen this series, it begins when a bail bondswoman meets a 9 year old boy who claims to be the son she gave up for adoption when she was a teenager. While taking him back to his adoptive mother, the mayor of picturesque Storybrooke, Maine, the heroine, Emma, learns that the boy, Henry, believes everyone in Storybrooke is a fairy tale character under a curse to make them forget who they truly are. He says his adoptive mother, Regina, is really the Evil Queen from Snow White. From there, the plot follows two parallel tracks. The first is Emma's story as she tries to forge a relationship with her long-lost son, deal with the political machinations of Regina who wants to keep her away from Henry, and to figure out if Henry is insane or all this fairy tale stuff is true. The second is the fantasy/adventure in the Enchanted realm. Both storylines are fun. I love the soapiness of life in Storybrooke and all the political intrigue with the mayor, the sheriff, the morally gray Mr. Gold, and the newspaper editor. But I also adore bad-ass rebel leader Snow White, the heroics of Prince Charming, and the three dimensional Evil Queen. Red Riding Hood's tale can stand alone as a horror story in its own right. And Grumpy's character arc is more intriguing than it should be. A few more observations: In episode 2, the Evil Queen and attempting-to-reform villainess Maleficent have a knock-down, drag-out magical battle, and when Maleficent is defeated, she says tiredly, "Get it over with and kill me already." Genuinely confused, the Evil Queen responds, "I would never kill you. You're my only friend." My heart broke for both of them. Of all the complex villains, Maleficent is far and away the most tragic, and the one most driven to villainy by circumstances beyond her control. Don't let their cuteness fool you. Fairies are terrifying in this realm. There were once eight dwarves. Snow White was taken in after Stealthy's untimely death. So from the dwarves' perspective, Snow White is their replacement goldfish (see TV Tropes.) If you haven't seen the show, I highly recommend it. It's a fun ride.

[hellsbellschime]

Why Will Dany Burn King’s Landing?

Although most fans of A Song of Ice and Fire and Game of Thrones understandably aren't keen on revisiting the sloppy final season of the TV series, season 8 of the show is actually home to some of the most interesting indications of where the book series may or may not be going.

Season 8 was largely so confusing because the series was attempting to get across the finish line as fast as possible, but many of the messier aspects of the show were also clearly driven by the fact that Game of Thrones had already significantly deviated from the story that George RR Martin was trying to tell. So, when the time came for the TV series to end, the show had to push its characters into their decided endgames despite the fact that many alterations to their prior arcs now made those endings somewhat nonsensical.

George has already directly stated that the broad strokes of the ending will be the same in the books, but I think it stands to reason that the most controversial aspect of the series end, Daenerys' decision to burn King's Landing, will likely be significantly different within the books.

There are a lot of theories about how Dany's dark, or at least slightly darker, turn is going to go in the novels. Many fans unsuprisingly have come up with speculations that alleviate most of Dany's responsibility for the destruction of the city, but I think the notion that someone else will burn King's Landing or that Daenerys will burn the capitol by accident are extremely unlikely.

I can't envision a world where George RR Martin lets any of his main characters off the hook for the most destructive choice in the entire series, and frankly it has always been completely in character for Daenerys to justify any amount of devastation and destruction if it's in service of reclaiming the Iron Throne. And honestly, despite the fact that Game of Thrones retconned most of Dany's darkest book decisions and characteristics, even within the TV series itself, burning King's Landing was largely a logical extension of Dany's habit of killing anybody who gives even the slightest indication that they might not follow her.

However, it also seems undeniable that the burning of King's Landing is almost certainly going to come about due to different circumstances. And, it seems extremely likely that the omission of one significant character in the books, Young Griff, will be one of the key differences in the destruction of King's Landing and the entire Targaryen dynasty.

While I don't think Young Griff's non-Targaryen heritage is nearly as undeniable as many other fans do, one thing that seems very probable is that regardless of whether or not Aegon is really Aegon Targaryen, Daenerys will not believe that he is the long lost son of Rhaegar Targaryen.

Cersei becoming Dany's greatest rival never really made sense considering how few legitimate supporters she had. But on the other hand, someone like Young Griff, who has spent his entire life training to become the best king possible, seems like the kind of person who will likely win at least a significant amount of support among the lords of Westeros and the common people, who at this point would honestly prefer anyone other than Cersei anyway.

But, if Dany arrives in Westeros and there is a Targaryen who she doesn't believe is a Targaryen already sitting on the Iron Throne with the backing of a multitude of kingdoms as well as the common people, clearly she's going to be pissed. And obviously she's going to have a huge axe to grind with the boy who she believes has usurped her throne.

Dany has always been prone to violence to begin with, but now that she seems to have decided to go full fire and blood, it's not that difficult to figure out how she is likely going to handle Aegon the Sixth. But, I think that the penultimate episode of Game of Thrones may have already explained exactly how that is going to happen.

Like most fans, as soon as any information about the final season of Game of Thrones was released, I thought about what it could possibly be referring to or what it would mean. And one aspect of season 8 that seemed to not quite fit into anything within the rest of the series was the title of the episode "The Bells".

What initially interested me about that name was that not only was it the title for arguably the most important episode in the entire show, but that it referred to something that has a lot of thematic relevance within the books but that has been barely mentioned within the TV series. Bells are mentioned constantly in A Song of Ice and Fire, but they've only gotten a few nods within Game of Thrones. And I was even more surprised that, when the show actually aired, the ringing of the bells didn't seem to be hugely relevant to the episode itself either.

Yes, the bells do seem to trigger Dany's decision to burn the entire city down, but they aren't important before or after that, and when there are so many possible titles that are more connected to the series and the story, it still seems strange that "The Bells" was called "The Bells".

However, while bells are a bit of a perennial theme within A Song of Ice and Fire, I think one particular bell-themed subplot might be the exact history that is going to repeat itself when King's Landing burns to the ground, and I think that Daenerys might defeat Aegon in the second Battle of the Bells.

Jon Connington is another fantastic character who was completely omitted from the TV series, but it's interesting that the most fervent supporter of House Targaryen who was on the front lines fighting for Rhaegar in Robert's Rebellion seems to believe that the war wasn't actually lost in the Trident, but in Stoney Sept when Jon failed to root out Robert Baratheon.

JonCon's perspective on Rhaegar and on the entire war is undeniably warped, and in retrospect House Targaryen's dynasty was always destined to fail. Rhaegar may not have had the violent impulses of Aerys, but a dude who lets the entire realm devolve into chaos because he really needs to impregnate a teenager who is dubiously consenting at best was not going to bring peace and prosperity back to the realm. And in a broader sense, the Targaryen values of isolationism, superiority, subjugation, and consolidation of power seem to indicate that no matter what happened, as long as the Targaryens stuck to their beliefs then they were never going to hold on to the Seven Kingdoms.

But still, it seems incredibly important that Jon Connington believed that the Targaryens lost the Iron Throne in the Battle of the Bells, and it's even more important that he's almost certainly wrong. A Song of Ice and Fire has been pretty consistent in its portrayal of brutality. It has proven to be an effective tool in the short term, but it seems to have disastrous results in the long run. And, given that George RR Martin is an ardent pacifist, it's obvious that JonCon's belief that if he had only been crueler and more violent in Stoney Sept then the war would have been won for House Targaryen is a belief that is bound to be undermined.

The fact that Prince Aegon's greatest Westerosi supporter is so strong in this belief though seems to be an obvious setup for a clash in the future. It seems unlikely that the boy who Varys wanted to be the perfect king would be as brutal as someone like Tywin Lannister, and honestly, most people are not that violent nor do they believe that the only goal is winning no matter the cost.

But, it also seems to be a setup for a clash between Young Griff and Daenerys. After all, while most people wouldn't do absolutely anything to get what they believed was their birthright, Dany absolutely would. She internally justifies every action that she takes in service of getting the Iron Throne, and there doesn't seem to be a limit to the violence that she would excuse if it meant taking what she believes is rightfully hers.

The descriptions of the Battle of the Bells in Jon Connington's POV chapters are all very interesting, and it's telling that even in these few glimpses into his mind, this battle is so vitally important. But, Jon's memories are at their most interesting in the chapter "The Griffin Reborn," when he discusses his failings with Myles Toyne.

Jon tells himself that even Tywin Lannister couldn't have done anything more than what he did, but Toyne disagrees. Blackheart says “Lord Tywin would not have bothered with a search. He would have burned that town and every living creature in it. Men and boys, babes at the breast, noble knights and holy septons, pigs and whores, rats and rebels, he would have burned them all. When the fires guttered out and only ash and cinders remained, he would have sent his men in to find the bones of Robert Baratheon."

And while Myles is undoubtedly right that this is exactly what Tywin Lannister would have done, the particular description of the violence sounds undeniably Targaryen in nature. It literally sounds like fire and blood. And frankly, it sounds pretty close to what Daenerys did in Game of Thrones and is likely to do in King's Landing in A Song of Ice and Fire.

Conceptually, it's actually quite simple. Jon Connington will fight the Battle of the Bells once again, except this time he's going to be on the side of the new Robert Baratheon. If Young Griff is a remotely capable ruler who wins the hearts of the people, then it's entirely believable that the citizens of King's Landing would give him quarter when the dragon queen comes looking for him. And given Daenerys' typical patience level, it seems incredibly likely that Dany would just burn the traitors and find the bones of the usurper in the ashes.

Jon Connington has returned to Westeros operating under the belief that he is going to have to be tougher and more brutal to ensure that Young Griff ascends to the Iron Throne like Rhaegar never did, and to ensure that he's never overthrown like the Mad King was. So then, it would be a pretty perfect twist of fate if everything that Jon believes now winds up being proven wrong and he finds himself and the boy who he has vowed to defend to his last breath relying on the kindness of strangers to hide them from the Targaryen ruler and her armies who are searching for them.

And ironically, Jon will not do what he has set out to do, succeed for the son where he failed for the father, precisely because the enemy that he's facing now will be ready and willing to use the brutality that JonCon originally shied away from in Stoney Sept. If Young Griff and the elder Griffon were actually dealing with a rival who was similar to the younger Jon Connington, someone who wasn't willing to wreak havoc and destruction in order to find their enemy at all costs, then they might have a chance at at least surviving.  

But, because Dany is the type of person who serves up fire and blood to anyone she thinks even might be her enemy, any of King Aegon's protectors will be treated with the brutality that Jon currently believes is necessary to win, and Young Griff will be killed anyway. And of course, while Daenerys will almost certainly win the battle against Aegon the Sixth, her decision to be as violent and swift as possible in order to root out her enemies will also lead to her ultimate downfall and a truly irrevocable end to the Targaryen dynasty.

Thematically, the repetition of past mistakes, the false belief that great violence in service of a supposedly greater good is worthwhile, and the false belief that brutality is strength, all fits in well with A Song of Ice and Fire and George RR Martin's political point of view. But obviously, given that Aegon Targaryen, Jon Connington, and their entire branch of the story was omitted in Game of Thrones, none of this could have ever happened in the TV series. And perhaps the title of the penultimate episode was a subtle nod to the climax that the writers know will be coming in the books.

[baixueagain]

The Gendo & Rei Question, Part III

For the Intro and Part I, go here.

For Part II, go here.

Part III: The Gaze of the Prodigal Son

              Both Rei I and Rei III are “alive” for only a short period, and it is Rei II—the clone active from roughly 2014 through most of 2015—that we as the audience get to know the best. This is also the clone that has the most developed and complex relationship with Gendo, and we learn most of what we know about how Gendo views Rei as a whole from his behaviour with Rei II.

              Rei II and Gendo’s relationship during 2014-15—especially how they feel about it for themselves—is nevertheless one of the more difficult relationships to understand, since they’re two of the most mysterious characters in Evangelion. We rarely get glimpses into Rei’s point of view, and Gendo only truly speaks about his own emotional and psychological state in the final moments of his life during EoE. Even then, he only speaks of his feelings about Yui and Shinji, not Rei. In fact, he virtually never speaks to others about Rei unless he is talking about her involvement with piloting or the HIP. We only get a few glimpses of their direct interactions, and while these are highly charged with multiple layers of innuendo, those same layers of innuendo make the situation all the more opaque.

              One of the best perspectives we have on Gendo and Rei’s relationship, I argue, comes from Shinji. Granted, he’s the main character and most of the story of Evangelion is told from his point of view, but his perception of Gendo and Rei is just as valuable for another reason: he’s an outsider. NERV is by its very nature a place of secrecy and high strangeness, and it stands to reason that most of the people working there have long since become desensitized to their Commander’s odd personality quirks and the strange, solemn girl serving as his first pilot. Even Misato, who has only just recently started working in Tokyo-3 proper, has been in NERV/Gehirn’s general orbit since her childhood and thus seems fairly used to Gendo Ikari’s personality and the odd way things are done under his supervision. But now we have Shinji in the picture, who’s had minimal contact with his father and who has spent most of his life in the “normal” world, sequestered from the truth of the family business. His perspective is that of the everyman, and he is thus primed to see the unusual parts of NERV that other characters take for granted. Moreover, unlike virtually everyone else at NERV (except for Ritsuko, whose perspective I will be addressing in the future), he is uniquely invested in both Gendo and Rei as people: Gendo being his estranged father, and Rei being his co-pilot and thus someone with whom he feels a sense of camaraderie (even if he barely knows her).

              Shinji arrives at NERV shortly after Rei has a serious accident—one that he does not yet know about. His first-ever interaction with Rei happens in tandem with his first interaction with Gendo in years, and this consists of Gendo dangling a wounded, crying girl over Shinji’s head to manipulate him into piloting Unit-01. It is a brutal, cruel tactic, and Shinji seems to recognize this for exactly what it is. He has already accused Gendo of just using him (something to which Gendo openly admits); from his perspective, it at first seems that his father cares just as little for the poor young woman on the gurney who can barely stand, much less pilot.

              This viewpoint is only challenged when, unknown to Gendo, Shinji spots the burn scars covering his father’s palms in Episode 5. His reaction to being told the truth—that Gendo freed the wounded Rei from her overheated entry plug bare-handed (a scene I will discuss in later essays)—clearly stuns him after seeing the cold, calculating way Gendo used her condition to manipulate him earlier. “Father did that?” he blurts out. The concept clearly seems unbelievable to him, defying everything he thinks he knows of Gendo being a heartless, cold, selfish man.

              Interestingly enough, as Ritsuko describes Gendo’s heroic deed to Shinji, the “camera” momentarily moves outside the limits of Shinji’s perspective and shows us what Gendo is doing at that very moment. He is bare-handed (a rarity for him during the A-plot) and for once he has an open, receptive expression on his face as he examines the Angel’s core in obvious wonder and fascination. His lips almost form an excited little smile and the harsh lines of his face are softened. His naked hands touch the core gently, practically caressing it with just his bare fingertips. Considering Evangelion’s repeated use of hand- and touch-related symbolism, it is likely meant to reflect something of his inner emotional world. This is the first time during the A-plot (that is, the plot following Shinji’s perspective and experiences) in which we see Gendo with his emotional guard down. And it comes at the exact moment Shinji learns of his father’s act of self-sacrificial vulnerability for Rei’s sake.

              The idea that his father might allow himself to be hurt for anyone is utterly alien to Shinji, and this in turn is what prompts him to become more curious about Rei. Notably, the next scene is one of immediate contrast: “The burns on his palms are from then,” says Ritsuko, recalling the searing heat of the plug. The shot instantly cuts to a young girl’s body plunging into water. It’s just a small touch, but yet another masterful moment in the way Evangelion uses visual language and careful word choices to create an unspoken discussion on themes. This, we are being told, is going to be an episode about contrasts and subversions. It will also be an episode about sex.

              The poolside scene is the first in which Rei is first explicitly treated as a sexual being—at least from others’ points of view. Shinji is teased twice about his interest in Rei, the first time by his friends Toji and Kensuke, both of whom clearly see Rei as a beautiful (if unapproachable and intimidating) girl. The two of them (being high school boys) describe her body in explicitly sexualized terms, much to Shinji’s embarrassment. At the same time, we’re treated to shots of Rei sitting quietly in her bathing suit, oblivious to their chatter. She is small and vulnerable, but her bare skin and curvy form has still been made into something with sexual energy and potential.

              Back at NERV HQ after school, Shinji watches Rei without her knowledge, still clearly curious about her. Notably, up until this point he has never seen any emotional expressions from her (unless you count her agony in Episode 1). She has kept her distance entirely, and he realizes that despite working together for at least a couple weeks now, he knows virtually nothing about her. There are no relationships in which he can observe her behaviour with others…except for Gendo.

              As he secretly watches within his cockpit, Shinji watches his father approach Rei. Rei suddenly begins acting her age in her body; instead of moving stiffly, she skips and hops eagerly down onto the walkway and begins chatting with Gendo, a cheerful smile on her face and her eyes bright and alert.

              What’s even more shocking to Shinji, however, is Gendo: unlike the scene with the angel core, here Shinji can actually witness his father’s change in demeanour for himself. The Gendo that Shinji knows is a stern, unfeeling man whose rare expressions are that of irritation or a cruel smugness. But as Gendo chats with Rei, his eyes are soft, and a happy smile is on his face. His cheeks even look a bit flushed. Just as important is the way they’re both speaking to each other: although we can’t hear them, we can see their body language and their interaction. They are standing face-to-face, gazing into each other’s eyes, each speaking in turn. They are practically interacting like equals.

              Is it little wonder that Shinji’s jaw is on the floor?

              As always, Anno’s masterful direction creates an unmistakable atmosphere laid across what might otherwise look like a pleasant scene. Shinji’s hidden vantage point, the oblivious radio chatter from the control room, the low single chord of background music, and the fact that we can’t hear a word that Gendo and Rei are saying: all these things contribute to the sensation that we, along with Shinji, have just witnessed something intensely private. Something that neither we nor Shinji were meant to see.

              The scene immediately following this is, once again, Shinji being teased for showing an interest in Rei—this time by two attractive older women. Again the pressure to see Rei as a sexual being is mounted, and the additional overtones of a discussion about sex between a teenager and adults is added. This rapid switch back and forth between Shinji learning about the relationship between Gendo and Rei and being repeatedly asked if he’s interested in Rei himself (all the above scenes take place over the course of about ten minutes) creates an uncomfortable dissonance that charges the episode with a confusing, unnerving sexual tension. At the same time, Rei and Gendo are explicitly brought up and compared to one another: both are terribly awkward, we are told, at life in general. 

              And that’s when the climactic scene of the episode drops on us like a N2, bringing all these interweaving themes to an awkward, disgusting, hilarious, and horrifying head. Shinji goes to Rei’s apartment to drop off her new NERV ID card. Nobody answers the door, which he finds unlocked, so he enters. The room is filthy and spartan; the girl who lives here clearly does not care much about her surroundings or her possessions.

              But Shinji is drawn to the room’s one treasure: a pair of broken glasses carefully set on top of Rei’s dresser. We as the audience are let in on a higher degree of discomfort by knowing something Shinji does not: those once belonged to Gendo, who dropped them when he recklessly pried open the plug door to rescue Rei. Gendo is thus made extremely present in the scene to the audience, even if Shinji cannot sense him.

              I should note here the significance of Gendo’s glasses as a part of his personality. I have noted before that they are an additional layer that he puts on himself as a means of separating himself from others. Though he used to wear clear lenses, after those break he switches to tinted ones, making his expressions even harder to read and representing the increasingly rapid withdrawal of his personal investment and motivations from the rest of NERV and SEELE. His glasses frequently reflect the light, making it difficult to see his eyes even when he’s wearing the clear lenses. The direction of his gaze is thus frequently hidden, and with it his thoughts, feelings, and motives.

              And yet the glasses reflect other things on occasion, too, informing the audience of what Gendo is looking at and what he’s concentrating on. Shots of his face thus have a doubling effect of simultaneously hiding and revealing his gaze: we can see glimpses of what he is gazing at, but only by looking directly at his face and into the glasses which reflect his vantage point. His perspective is simultaneously revealed and hidden.

              So as Shinji approaches the broken glasses on Rei’s dresser, his face is reflected in them—something we rarely (perhaps never?) see happen when Gendo is actually wearing them. His gaze on his son is thus simultaneously present and absent, accentuating the deep dichotomies of their relationship.

              That’s when Shinji does something that feels even more shocking (almost taboo) from the viewpoint of the audience, based on our prior knowledge: he puts them on. It is an incredibly childish gesture, reminding us once again that he’s nothing more than a curious fourteen-year-old boy, but at the same moment he—in the audience’s eyes—becomes his father (emphasized by their similar physical appearance).

              And what is the first thing he sees through his father’s eyes after he turns around and looks behind himself?

              It’s Rei, fully naked, staring back at him.

              Yet at the same time, his view of Rei is blurred and cracked, reminding us definitively that these are not his glasses.

              This, the shot suggests, is not his sight to see. This sight of Rei’s nakedness “belongs” to someone else. Already we are being told exactly what Gendo has seen, how much of it, and that he owns this sight—or at least thinks he does.

              The events that follow are on their surface hilarious due to the awkward nature of the situation, but the staging and shots used (for lack of a better word) are a recollection of the scene down in the cage: Shinji has entered in on something that he should not be witnessing, something that is not for him. Rei strides forward to seize the glasses from him, Shinji slips and topples onto her, his tote catches on her dresser drawer and sends bras and panties flying everywhere. He lands on top of her, covered  in her private items, in a slapstick missionary position with a hand on her breast—and in showing us this, the introductory focus in the pan is of her own hand clutching the glasses. Gendo’s presence is again invoked, even in this deeply awkward, intimate, and violating moment. He is the third, invisible character in this deeply sexually charged scene.

              At the same time, this is the moment where we as an audience begin to see what makes Rei tick. She seems to have no reaction to Shinji seeing her nakedness (leading us, of course, to wonder why), but it is the first moment in which she has a direct emotional reaction to Shinji: anger. But instead of hiding herself, she walks towards him and seizes the glasses away. Shinji walking in on her bathing was not a violation in her eyes, but his wearing his father’s glasses is. Once again, we are given the uncanny message that Rei’s body is treated as a commodity—including by Rei herself. This time, however, we are given an alternative source of her identity. She does not derive her sense of self from her embodiedness, but from something more intangible, represented by the one item in her life treated with reverence: the glasses. She is given her sense of identity through Gendo’s gaze, and it is Shinji’s appropriation of this gaze that she finds violating. Even as Shinji lands on top of her, a hand on her chest, her anger is gone because the issue is resolved: she has the glasses back in her possession and Shinji is no longer invading that space (even as he inadvertently invades other spaces).

              Shinji’s next violation provokes an even stronger response. Despite the horrifically awkward event, it has at least broken the ice, and as they travel together to NERV HQ he begins trying to make conversation about their commonality: Eva piloting. This then invokes the silent third party in this entire exchange: Gendo. Rei asks if Shinji has faith in his father’s work, and when he furiously denies it, she turns, looks him square in the eyes, and slaps him hard across the face.

              And this, of course, seems odd (even humorous) until one realizes why she perceives this as such an insult: she is his father’s work. An insult to her person is of no consequence in her eyes, but an insult to Gendo is an insult to something far more intrinsic to her identity and her emotional world. Between these two scenes, we have seen just how wrapped up Rei’s sense of identity is in Gendo, and in further essays I will argue that the reverse is true as well. Gendo cannot conceive of Rei as existing outside of himself, her identity is so deeply wrapped up in his own. If he ever did conceive of her as a separate being, he will have lost this ability by time Instrumentality arrives.

              Yet at the same time, between all these questions of identity and sexual violation, we see toward the end of the episode that there is a layer that is far more simple and human: Rei takes Gendo’s glasses with her into the entry plug when it’s time for her resynchronization, and she hangs them where she can look at them when she feels afraid.

              Because she is, in the end, also a fourteen-year-old who wants someone to make her feel safe.

To be continued in Part IV: Green-Eyed Monsters

Like my meta? Buy me a coffee!

[translationandbetrayals]

Ousama Ranking and the representation of disability.

Usually, when we look for characters with physical or mental disabilities in anime the surprise is... Disappointing, to say the least.

They are characters that usually cope with their condition in some magical or extraordinary way or are used by the author as tragedies that move the plot, or even in the worst cases, as ornaments to cover quotas or without plot value. To exemplify this, let's look at classic and popular anime characters:

Edward Elric from Fullmetal Alchemist: Rather than a real handicap for him in his daily life, the loss of his arm and leg does not mean a real disability. This since his mechanical prosthetics replace any function his former limbs could do, as well as giving him the obvious advantage of using them in his own alchemy.

Nunnally VI Britannia from Code Geass: Hangyaku no Lelouch: Daughter of Emperor Charles Zi Britannia, she is a blind, paraplegic princess exiled from her own country. With a clearly tragic past after her mother died, she is a kind and good-hearted character despite the tragedies that surround her. What's the problem with this? Her father is the one who has kept her blind all this time, seeking to protect her from one of the series' main antagonists. The aggravation? He can give her back her sight whenever he wants, or rather, whenever the plot needs it, so really, you don't see a true character who goes through all the difficulties of a disabled person in her reality

Let's focus a little bit on Edward. He is the main character of his series, which is quite outstanding to be used as an example of a disabled character. However, he is not really an entirely realistic representation, nor is he expected to be, but we need him to be to make sense of this discussion.

Let's look at other more realistic and popular characters: Shoko Nishimiya from Koe no Katachi. Her portrayal as a hearing-impaired person is really accurate because it directly shows us the social problems that a girl, and later a teenager, must go through, either at school or in the world around her. However, the film does not see her as the main character, of course, no one can deny that without her the film would be meaningless, but really the story and plot do not revolve around her, it revolves around Shouya and that he, in a way, revolves around her.

However, at the end of last year, an anime came out that has as its main character someone with a hearing disability, someone who doesn't overcome it in some magical way and learns to live with it in his fantasy world, the one I'm talking about is Bojji from Ousama Ranking.

Bojji is an extremely kind and tender child. He was born to two adventurous giants who later became the kings of their country, so everyone eagerly expected this first son to become exceptionally strong and big. But no, Bojji is quite the opposite, small, weak, deaf, and dumb. His mother died when he was very young, but he remembers her very fondly and his goal is to fulfill her last wish, to become a king. No, to become the best king.

When you watch the series your first feeling is a pity for this poor deaf and, at first, dumb boy. But soon this turns to helplessness because of the actions of other characters and the feeling of rooting for Bojji with all you might because he is someone who never gives up, even though he lives constantly being ridiculed and minimized by everyone else. The series from my perspective feels like it doesn't tell you to feel sorry or pity for Bojji, but instead leads you to fully trust him, because you know he won't give up until he achieves his goal. Bojji is not miraculously cured at any point. Instead, you see through flashbacks that he learned to take care of himself, he is self-sufficient, perhaps more so than some of us; and if the aids offered do not deprive him of his freedom of action as an independent child, he gladly accepts them.

His disability serves to pity the protagonist, serves as an obstacle to achieving his goal, and serves to make us realize that sometimes, when we want to help someone we consider incapable of functioning on their own, we get the surprise that it is not so, after all, they have lived a whole life without our help.

Fernanda Rojas Molina.

[lifeexperience]

Maribat March 2021 - Half time

In my AO3 account I am also updating the 'A playboy billionaire, an ambassador and the secret love-child' title, and sometimes I add(ed) commentary why I write something the way I do.

Masterlist

From the last fifty days here is all the plus note:

First day

In Red Robin (2009-2011) comics Vicki Vale was a little bit too noisy for her own good, that's why I used her personal annoyance against Bruce Wayne in this story.

Third day

Vanessa Rios was an assistant district attorney in Gotham in the Robin (1993-2009) run. Here I am using her as the Wayne's legal team head. Tamara Fox, Lucius Fox's daughter, is friends with Tim Drake in Red Robin (2009-2011) comics and here too. Also she is an intern with the HR department who knows about the BatFam alteregos.

Fifth day

In the comics, Alfred always followed Bruce to his 'trips' (in 'Batman and Son' to London, 'Batman & Robin Annual' to an scavenger hunt, in 'Batman Inc.' to every country where they found representatives...) However because of Damian's unpredictable behaviour he stayed at the manor with the children in this story.

Sixth day

So Young Justice thing is a little complicated to me if I dare to say something about it. There was the 'Young Justice: The Secret' and its sequels. Then there were 'The New52' and 'DC Rebirth' era, plus the animation show. And they all are kind of okay..ish, furthermore I wanted to keep the principles like the main members (Tim Drake, Connor Kent, Bart Allen and Cassie Sandsmark), however I never liked their too childish behavior in some of the works (and the mixing with 'The Titans). So in this story, here, they are more adult..ish, but more relaxed and cheerful than 'The Titans' ever was (like in comics, not in the shows).

Eighth day

In the 'Miraculous: Tales of Ladybug and Chat Noir' show they showed Lila as a manipulator without any remorse, which got me to think she has antisocial personality disorder (ASPD). I am not a doctor but I had some basic lesson in psychology, and I have a natural curiosity about things so I always research everything. With diagnosed ASPD the person has to be older then 18, however I read its symptoms can show up in childhood, and it can lead to an earlier diagnosis like 14-15 years old early.

In the case of Lila she deceives people and uses them (✓). Don't makes long term plans or thinking through about her behavior (✓), however has a set on some goal she wants to achieve (✓). She has a sense of superiority above of her classmates and adults in her environment (✓), nevertheless does't have any remorse or guilt to mistreat them (✓). Uses charisma and her fake charming persona to get something or someone (✓), however didn't value them more than tools or prizes (✓).

I didn't see any real aggressive behavior from Lila beside akumatizations (✓), but on its own I think it's enough evidence, that she has this disorder (and not the many that she claimed). In normal aggressive way Lila didn't show herself (like physical violence, loud angry outbursts, big fits in front of everyone) yet, rather she uses Akumatization to hide that kind of behavior (when Adrien tried to stand up she became willingly Chameleon, or the Heroe's Day, or Oni-Chan). So her Akumatised forms and helping to Hawkmoth are the evidences that she has aggressive behavior, however they are not the classic forms (but we also can remember the threatening in the bathroom, but I think that was more intimidation and showing her superiority then pure aggressiveness).

And I wanted that recreate and strengthen this 'fact' a little bit so it would be more obvious than in the show.

Ninth day

In the comics there are so many take on Bruce Wayne it's kind of hard to count it. We could list the Batman persona, when he kind of let his children do what they want within his no-kill-rule (like living alone at fourteen with bunch of other teenager - 'Teen Titans' or 'Young Justice' or as it looks like to go rough - Robin, Red Hood). And there is the obvious martyr-parent take, when he has to know everything about his children, but he is always silent about the important things ('Death of the family' - 'Batman and Robin: Born to kill' - 'The Hunt for Robin'). And one of my favorites the worried-tired father take, when he is kind of showing his emotions and trying to love his kids ('Super Sons' - 'Robin Rises' - 'Prelude to the Wedding: Nightwing vs. Hush' ...).

And I decided to use the last with a more active take from the first (like he lets everyone do their thing but he is monitoring them within reasons). In the comics there are many accusations about being someones father (with Julie Madison or Mariah Shelley), and here in my take he is trying to be responsible (for the sake of his children, mainly for Damian and Jason) and checks every claim out personally (so they also can do DNS test).

Tenth day

Alya Césaire is a complicated someone in the show. At first she is portrayed as a fierce helper for the protagonist, Marinette. She is stubborn and reckless, but royal to her best friends.

Then came Lila and the makers sharpened her stubborn tunnel vision. This I saw it first at the 'Lady Wifi' episode, when she clearly didn't remember about the first day, when Ladybug saved Chloé (or ignored it). After that she always fixated on 'Adrienette' (or everything else if it's interesting - Dark Cupid) when the girl, herself had other things to do (Princess Fragrance, Puppeteer 2, Reflektdoll 2, Timebreaker). So it was not that big surprise when her tunnel vision turned to Lila, and she (and everybody in her class) forgot about that they all met Jagged Stone and with his crocodile already.

Yeah, it's all true, however unlike Lila, Alya didn't show any other big social flaw. And she is 14 years old and middle child, which is kind of important in someone personality. She has to be a mature figure and a little child at the same time in her sibling's eyes. She has to compete attention in their parents eyes and be smart about it.

Moreover if we look at the Collège Françoise Dupont's students, they are all spoiled, not just Chloé or Lila or Adrien. Yes, they are not that bad like the three, but they are all sheltered to a certain degree. Their family don't have financial problems (famous chef, designers, mayor, famous bakery, curator in the most famous museum, police officer, famous pantomime, ...), plus they are all in a prestigious school where they can't meet people with everyday problems (and rich spoiled kid is not an everyday occurrence in my country). And beside some vision problems (Max, Sabrina) they are all healthy and the first time to meet a disability is when Lila arrived. So it's natural if they don't really know how to interact right with her (putting aside that whole lie thing).

And I think they, especial Alya, need first a little life experience, before they could be called responsible about their acts. And here I am trying to write it this kind of way, where they are all flawed, but they can learn from it.

Human being can be shallow and not perfect. These children only heard one perspective from Lila, and another from Marinette. In the show the makers not exactly specified about how well the classmates know Marinette and how depth Marinette and Alya friendship is, so there is already some trust issue.

Like yeah all of they are going to concerts, cinema, each others, however they didn't show so far any serious conservation between them (maybe the only exception is Adrien-Marinette combo). Until this year when Adrien and Alya got transferred in the class, the classmates don't even help Marinette with Chloé bullying. And one year friendship - how beautiful is it tho - is not that depth and stable, especially with that many secrets they have. And Lila 'charming' personality came into this still fragile relationship at the right time to prove this.

I am not saying that the makers is doing good to simplifies the relationships. Because rather they missed so many ziccers for the sake of promote new hero designs and the overwritten romantic scene, it's physical hurting me. But they are right that we are talking sheltered-traumatized-too naive kids, who sometimes had unearned magic powers (looking at Chloé, Alya, Kim).

And I didn't ever going the length of mentioning the adult characters. It's an other kind of wormhole.

Marinette was the only one who openly disobeyed Lila's wants. She stands up against her lies in the public so she is a real obstacle for Lila. While Adrien is only trying in the background without any witness (I don't say it's bad, because with some case it's better, but not here), and the boy is too valuable to Lila.

Lila already showed in the series she didn't stop with the lies and she is brave enough to ruin someone carrier with them (Marinette - 'Ladybug', Nathalie and Gorilla - 'Oni-Chan', Alya - 'Volpina'). And Adrien watched all of it in the front seat, and he kind of knows that Lila's main target here to discredit and broke Marinette/Ladybug (and Adrien, himself also, but it's his perspective and he is very sheltered and naive about it).

And this story she got another one to ruin. Bruce Wayne, himself. And as her fake charming side melts away in her anger as she is focusing more and more on her targets.

Eleventh day

Speed Force is one of the Seven Forces of the Universe. It grants the power of the speedsters. And some of them merged with it (for example Barry Allen). Speed Force has a direct connection to the time flow and with the Multiverse (or now Omniverse). The biggest event of it is the Flashpoint (2011) which started the New52 era. And Batman doesn't want to mix this kind of force with a really mysterious ancient magic.

Nightrunner's first appearance was in 2011 in Detective Comics Annual #12. Within the Batman Incorporated line Bruce recruited Bilal Asselah, French-Algerian citizen to represent Batman in Paris. Here he is a mentor/background assistant to the Team Miraculous and a representative of Batman Inc.

Fourteenth day

Wang Fu is not the most mature character in the show and I think it says it all. Being an 186 years old is the Great Guardian after he accidentally destroyed the temple, he is kind of shameful and amateur. And if we contrasted him with Batman... yeah. Batman is NOT happy and takes the control from the old master.

Fifteenth day

I know Cyborg, alias Victor Stone is currently shown as a founding member of the Justice League (since 2011), however I am prefer him more in the Titans. And it's not just because of the animation show form 2003, but also in the comics he is more himself with the first Titans then with the -all mighty- Justice League. And I also wanted him to have a little cameo in this story because in the Super Sons (2017-) he was kind of like a babysitter for the boys. And to me it's kind of funny how many times the bats short circuited him (Robin Rises, Super Sons: Parent Trap, ...).

Sixteenth day

Damian Wayne is a complicated character. For ten years he was teached to kill. He only learnt about his mother at eight. He only learnt about his father at ten. Thalia used him for anything from power play to plotting someone death. Bruce loves him, but he is so moronic about his own emotions it's kind of painful to read sometimes. And there is the thing where Damian is never enough, his mother cloned him (Heretic), his father has other wards (mainly Red Robin). Dick Grayson went incognito spying when the boy had finally a healthier relationship (Grayson: The Superspy). His best friend, Jon Kent was suddenly older then him (2018 Superman #16). Alfred was killed in front of him (2016 Batman #77). Yeah, Damian is a jerk, but he has every right to be a jerk in my opinion. And I wanted that recreate here as Lila is a liar and threatening his 'only' position as a blood son. His only weapon to prevent it to have a fit and doing what was teached to him.

Fulltime

[madsdefencesquad]

Okay I got boooored so here’s a Kevison magazine fic I wrote for Kevison nation coz I love yous and we deserve to see Kevin talk about his fam magazine-stylez coz you know he’ll be gushing all the time about them, like you just KNOW IT.

Kevin Pearson on life, fatherhood and what’s next for him by x March 2028, Spring edition

It’s been twelve years since the impassioned The Manny star Kevin Pearson announced to the world that he will be quitting the role that had started it all for him. Pearson’s public meltdown was excruciating, to say the least, but it was this very act of defiance that led the actor towards the path of the actor-crusader that he is now known for—a revolutionary who defied the odds and ultimately defined him as one of the greatest actors of his generation.

After a slew of tabloid-worthy dalliances with famous co-stars including the soap operatic love triangle with Tony award-winner Olivia Maine and his Back of an Egg co-producer and playwright Sloane Sandburg, to the court-ordered rehab stint after a DUI arrest, Kevin Pearson has done nothing but illicit the kind of stories that tabloids are desperate to display and monetise from in full view. All of these seemed the perfect pivot points for the actor, basking in the affordances of all this fame and fortune albeit in a trajectory of a complete career-destruction, but the actor was by no means deterred in proving that he can and should be taken seriously in his acting craft.

Pearson came through with striking, emboldened performances: a soldier with an inability to confront his demons in the Ron Howard-helmed World War II flick opposite Sylvester Stallone, and an embittered cop in the M Night Shyamalan action flick Stairs to Nowhere. But it wasn’t until his role as a disingenuous trial lawyer in the 2020 Jordan Martin Foster film Glass Eye that earned him his first ever Academy Award nomination and eventual win that proved to the world that when he puts his mind to it, Kevin Pearson can truly achieve the kind of acting greatness worth the lauded applause.

Pearson, who was born and raised in Pittsburgh before moving to New York and eventually Los Angeles, has spent a good amount of his life in the public eye. Though his sunny, easy-going persona and physicality have been compared to the likes of Chris Hemsworth and (supposed rival) Chris Evans, the Pittsburgh-bred Pearson doesn’t feel the need now to prove that he is anything but a conscientious actor and a dedicated family man.

It’s a warm, spring afternoon when I ring the buzzer of a sprawling floor-to-ceiling glass residence tucked away in a town in Bethlehem, Pennsylvania. The little lady of the house, barefoot in a floral-print dress, greets me with an encouraged wave from her father, who is cradling her against him upon opening the front door. “She’s not normally this shy,” Kevin says with an affectionate grin as he leads the way to the sitting room, his little girl curiously taking peeks at me with what I garner is her mother’s soft blue eyes given Kevin’s famous warm browns.

The newly built residence is a remarkably private house perched on a dramatic hillside overlooking a panoramic view of the verdant surrounds, which Kevin says, “keeps the family very safe from prying eyes.” This feature, of course, was at the forefront of his mind prior to laying its foundations there.

“There’s one main reason as to why I chose to build here specifically,” he says. “But I’m not gonna bore you with the details. Let’s just say, I’m honoring a memory. Makes me sound real poetic, doesn’t it?”

Throughout Kevin’s career, he’s been known to talk quite candidly about his love and appreciation for his mother, Rebecca Pearson, with his Oscars acceptance speech having heavily featured his immense gratitude to her as would a loving son. But, as we move along the elegantly furnished corridors with him pointing and elaborating at the various artworks decorating the walls and the spaces, it is obvious that Kevin has an unrivalled affection for his wife that is quite notably special.

We make our way to a sitting area outside where we are entreated to the sounds and sights of a naturally filtered swimming billabong with cascading falls—a modern feature incorporated with the Japanese Zen garden landscaping that is just breathtaking to behold in person. “I wanted to make it feel as authentic as the ones you find in Japan,” he says, sitting on one of the cushioned recliners. He pours me a glass of red wine while he settles for chilled tonic, his little girl now helping herself to some olives and crackers.

There is an air of rare contentment around Kevin as he laughingly recalls his twins’ daily shenanigans. “Nothing really compares to coming home to them,” he says. “And I’m not trying to sound ungrateful or anything, but I’ve been [working my whole life] and I’ve only had my wife and kids just short of a decade, and that’s nothing! So, I do what I can to be home in as most days of the year as I can.”

When asked whether he’s perhaps heading into the territory of acting retirement in favour of other pursuits like directing or producing, Kevin thinks it can go either way.

“The other night in bed my wife suggested I do voice acting,” he says, to which his little girl unintentionally responds to in glee as she, her feet now strapped in light-up sandals, runs the width of the garden (within sight of her dad, of course) with her Jessie and Bullseye dolls held high. “She knows me too well,” he says fondly of Madison, his wife of eight years now. “I’d love to have my kids watch a movie that dad’s in without having to wait till they’re teenagers. And I hate thinking of my babies as teenagers! God, it’s just the worst age!”

Kevin recalls his teenage years with the kind of accepted embarrassment fit for a 48-year-old, but he laughs saying, “But I see a little more of their mom in them than me so that gives me hope. I’d hate to think I passed on angsty teen Kevin to either one of them. Just serious kudos to my parents for putting up with me all those years. I must’ve been a nightmare.”

From endorsing the des Resistance popular eau de parfum for men to his Armani-clad behind splashed on every billboard in the country (much to his chagrin and to his wife’s entertainment), Kevin Pearson has always been quite the go-getter, and though his “yes man” days in the industry are over, he’s always open to other ways in which he can challenge himself in his craft without compromising the time spent with his family.

“They’re my first priority, no questions asked,” he says. For a kid, who grew up in a middle-class family with parents whom had high hopes for their future, Kevin says that now, as a father himself, his perspective has shifted as to what’s really important and what’s not.

“I think a lot of the time there’s an expectation for your kids to meet the standard their parents have set or even go beyond it,” he says. “But that’s just toxic, you know? And it puts a lot of pressure on them to be someone that they’re not and not meant to be.”

Kevin is candid about his insecurities as an actor and as a father and as a husband, but there is a masterful acceptance there that he gives full credit to his wife. “We’re not perfect people, perfect parents,” he says. “And we’ll never be. That’s just a fact of life. But getting to do this with your person, the love of your life makes the biggest difference. I used to think that my parents had the greatest love story ever, and I used to really idolise it, you know, but honestly I think Madison and I can probably rival that.” And he thinks that if he’ll ever write, direct or produce a script, it’ll be about him and his wife’s sweeping and unconventional love story that will be the “tear-jerker of the century. Like, A Walk to Remember or The Notebook level but like better!”

I ask him what Madison would think of his plans to unleash their love story to the world, and as if on cue, he fishes his phone from his pocket and utters a “just a sec” before leaving to grab his daughter and take the call.

Following his game-changing Academy Award win in 2021, Kevin had let himself free fall in the industry as a kind of versatile actor in roles where he sweeps you away with gut-punching monologue deliveries coupled with an intensity that comes in through the eyes. He hasn’t delved into comedy since his Manny days though, but there is a certain cajoling ease in his demeanour that could easily challenge his funny bone.

“It’s Madison,” he returns not long after and settles himself down again, his daughter handing me a pizza-shaped play-dough I pretend to munch on. “She’ll be home soon. You should meet her. You’d love her! Everyone does not that it’s surprising.”

And who could deny that offer?

Kevin shows me a photograph of the twins on his phone at their cousin’s birthday whom they celebrated with in California last week and qualms that they’re growing up way too fast—yet another reiteration that he is as doting of a father as he is a consummate actor. He thinks that though Hollywood is a lot less ageist in terms of film and TV roles, there is still that pressure not to succumb to filling a role just because you’re the right age for it.

“Ever since my kids were born, I’ve been approached to do a lot of dad roles. Like my agent would send me about five scripts a week where my character is supposed to be this stereotypical dad.  I’ve rarely taken any of them because I feel like it’s like they’re just trying to fit me in to a role just because I can say, ‘Oh hey, yeah I’m a dad now, I know what that means or what that looks like’, and not that that isn’t a good thing per se, but there’s a difference between the director wanting me to put my own spin to it as Kevin Pearson the actor versus them just wanting Kevin Pearson the dad. The way I approach parenting my kids, the way my wife and I do it, would be different to the way my character in this film would parent his kids. Sure, there may be certain overlaps, but it’s not going to be full Kevin Pearson the dad, you know? So, it’s hard with that kind of expectation.”

As the sun dips a little lower and it gets a little cooler, Kevin takes us back to the house just in time to finally meet Madison and their little boy, who looks strikingly like his father though, upon closer inspection, actually looks a little more like his mother. But there is one undeniable feature of the twins that definitely comes from both parents: the adorable identical dimples adorning their little chins.

Madison Pearson is as beautiful in person as she looks in photographs standing beside her husband in premieres and events. With her light-blue eyes and warm, soothing voice that sounds both delicate and excited at the same time, Madison is nothing but the embodiment of all things lovely.

“She grounds me,” he says adoringly, watching Madison and their kids flit about in the kitchen arranging dinner. “There isn’t much I can say that’s good about me if it hadn’t been for her. I can be ambitious and sometimes there’s always that pull towards something bigger but not necessarily better and she tells me honestly. She calls me out. And everyone needs that, you know? A frank person who won’t sugar coat anything, but they do it because they love you.”

It’s easy to imagine Kevin in gritty noir films playing bad cop, good cop or even as an intimidating trial lawyer, but Kevin as a family man is the role that is perfectly suited for him, almost like it’s created especially for him. As a father, he thrives on the affections of his kids, and as an actor, he finds pleasure in what’s he’s good at. And as a husband, his smile is the widest. “Not gonna lie, her not even being slightly jealous of that one time I did a love scene still gets to me,” he jokes. But it’s obvious that it bothers him not one bit. He enjoys being Madison Pearson’s more than anything.

“It’s crazy to think that people are inspired by what I do and who I am when for most of my life, it was 100% the other way around. It’s a huge responsibility, really, but I take it as it goes. I have my kids on the back of my mind now every time I make any decision, and I have a wife to love and support too, so it’s easier to not feel trapped by people’s opinions and expectations of you when you’re too focused on them and being the best person you can be for you and for them. So, it’s about growing every day, and enjoying all that life has to offer, and making every moment count.” x

Particular shoutout to my GC gals coz like ILY 5EVS @wallofweird @betweensunflowersanddaffodils @thisiskevison @thesocietalmisfit @tryalittlejoytomorrow @lullabiesandgoodbyes @flythesail @ourfinehouse @elephantsneedwater @holding-up-the-universe @smoakingpinklipstick @purpleinthesky