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seawitch62 · 2 years ago

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A party, a Halloween party

A fun night bar one party goer.

Mentions of alcohol, implied innuendos.

Horror

Word count 1224

The Interrogation.

"Am I being arrested?" Looking around the non descriptive closed room. The Police officer, a man in his forties with a no nonsense persona replies "that remains to be seen, you did mace a bunch of clowns!" Sighing "evil clowns, do I need a lawyer?"

The Officer stares at his suspect "how about we start at the beginning".

🤡

"A party?"

"Yeah come on, you remember fun don't you?"

Staring at my friend, well my best friend since school, her pretty face almost begging me to attend this party, I always had a hard time denying her, "It's Halloween let's get our freak on!"

"Freak on?"

"Dress up like when we were younger, have a few drinks, maybe meet some cool guys," she smiles.

"Okay let's do it"

🤡

I can not believe I let her talk me into this costume 'Tinker Bell' really? "This is so not me!"

My friend who chose one of the fairy godmothers simply smiled telling me we both look great.

The party was situated and happening at an abandoned saw mill, pondering whether all the best and worst parties seem to be in deserted abandoned structures. When we arrived the party was in full swing, music blaring and Halloween decorations set the mood, which was creepy, the party goers drinking concoctions made of alcohol, food that resembled human body parts. Everyone seemed to be having a blast, dancing, drinking, eating and chatting. The costumes were the usual from witches and vampires to the unusual: a slice of moldy bread and glass with a straw filled with what I assumed was meant to be blood. The food looked obnoxious but it was actually delicious, the usual thoroughfare cat litter box with poop, human brains the whole nine yards was on offer.

Pausing for a moment and reflecting on the events that followed the Officer politely enquiries "glass of water?"

Shaking my head he directs that I continue my narrative.

Looking at the Officer "I lost count how many times I was called Tink, and people asking for pixie dust". The usual pick up lines and some more imaginative.

Then I noticed him. Decked out all in black, what caught my interest was I was trying to decipher his costume at that very moment he caught me staring. I tried to pull my gaze away but I was unable to, it was like I was trapped in a magnetic force field.

What seemed like a lifetime but in fact was minutes the connection broke and I once more looked at the brain food. A voice behind stated "hello Tink" great another lame pick up line.

Turning towards the voice it was him! "I am Christopher or Chan if you prefer, Lord of the underworld!" Up close he face was pleasing and he seemed to radiate charm, the Australian accent put me off, 'lord of the underworld with an aussie accent'.

I expected a Bela Lugosi or at the very least Vincent Price accent for a lord of the underworld. As if he read my mind "g'day Tink" laughing.

Taken back for a second his easy going non threatening demeanor put me at ease.

As we ate severed toes in bandages, cocktail franks in pie crusts and sipped on Diabolique a mix of Vodka, Cointreau and other delicious ingredients we engaged in at times light other moments deep conversation on many varying topics. I was actually enjoying myself. We danced and to my surprise he was good.

Sipping on the water and looking at the Officer "you won't believe me, it's kinda crazy what happens next".

"Please continue" he directs.

Christopher suggests we leave the party together, I knew the implication the smoldering look in his eyes left nothing to the imagination. I was not ready to leave let alone with him. So I ignored his statement and told him I should go and find my friend. This seemed to anger him but he masked his feelings very quickly.

"How about this Tink I rip those fairy wings off and barbecue them in hell!" His tone was menacing and his eyes cool as any cucumber. Looking at him the visage of the friendly party guest evaporated instead it was replaced with a threatening semblance the cruel glint in his eyes formidable.

"I'm hungry for many things and you little Tinker bell are going to satisfy all my wants!".

Standing up and staring at the chameleon who introduced himself as Christopher, "go to hell!"

"Oh babe I live there!" He mockingly laughs, his eyes red pools of nothingness."you are coming home with me tonight to learn my exquisite methods of pleasure and pain".

"Wait wait!" The Officer injects "red eyes?"

"Yes"

This guy was creeping me out, he was overly invested in his role and frankly I didn't need another wack job in my life, so I got up and left, I could feel his gaze as I walked away.

"What a minute, where are the clowns?" The Officer asks.

I decided to leave the party because my friend seemed preoccupied with 'Jonathan Harker' so I decided to go outside, call a taxi and head home.

That's when the clowns appeared evil clowns, their makeup grotesque, their costumes filthy and covered in red stains.

I am not a fan of clowns, in fact I hate clowns, they scare the crap out of me. They came towards their grins malicious, chuckling in a way that sent shivers down my spine. So I grabbed the mace.

"Killer Klowns from outer space?" the Officer asks, "no more like Pennywise from It".

"When I maced them they disappeared but others took their place, a gang of evil clowns"

That's when I ran, they followed suit, chasing me and gaining on me. I hid when they found me, I maced them and I ran once again.

I was running and stumbling, scared out of my wits, my phone had no service. I was trying to find help, but the landscape was barren and desolate, not a person around.

I was running for god knows how long my ankle was throbbing from my last fall, and I ran smack bang into the chest of Christopher.

"Having fun yet Tink? I tried to mace him but he was too strong and he flicked the mace to the ground then I kicked him, that only angered him. His red eyes bespoke payback that would come for my actions.

That is when the patrol car found us and well you know the rest.

Knock knock knock.

Another Officer beckons the Officer who is taking the statement.

The door opens "I am Officer Felix Lee" with a deep voice and strong Australian accent. Another Aussie, what are the odds!?!

"Chan" looking like a cat that just ate a canary "Christopher has kindly decided to not press charges, you are free to go".

"Free to go?"

"That's what I said" Felix replies in an annoyed tone.

Mumbling my thanks I head to the door, "he is waiting for you" Felix laughs.

Outside the chilly night air hits like icy water, the Tinkerbell outfit is no barrier from the cold.

Phone in hand ready to call a taxi and put this dreadful night in my rear view mirror, arms wrap around my body, a voice whispers "now where were we Tink?".

#christopher fic #christopher x reader #bang chan fics #bang chan x reader #stray kids fanfic #stray kids au #stray kids x reader #straykids fanfic #skz x reader #skz fic #skz fanfic #skz au

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catty-words · 4 years ago

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on the school dance fallout or, a thorough examination of the boys’ apologies to julie

full disclosure, i used to take serious issue with 1.06 for what it did to julie’s righteous anger in light of the boys letting her down, and my gripes haven’t fully gone away. but i have spent some time thinking on the fallout since my first (several) viewing(s) of the show and i finally noticed some emotionally nuanced storytelling that i needed time to come to appreciate. so, if you’ll indulge me another gif-filled meta post...

everyone knows that a good apology demonstrates an understanding of how you wronged the person you’re apologizing to, otherwise the words i’m sorry end up being fairly empty. and luckily for the boys, julie does a good job of immediately and effectively communicating her hurt feelings:

the first part is directed at luke specifically as her main co-writer, while the rest is about how all three of them let her down. it couldn’t be more clear that the reason she’s so betrayed is that a) they’ve made her feel like julie and the phantoms is less important to them than sunset curve and b) they’ve failed to consider her point of view or empathize with how important the show was to her.

which is why singing sorry a bunch of times, though charming, leaves her unmoved. and it’s why booking another gig actually makes her angrier. a gig the boys have deemed important enough to show up for is not a present or an olive branch to her, it’s a slap in the face. and if the boys had actually been paying attention to what she’d said the night of the dance, they could have anticipated her reaction.

but they clearly haven’t listened, so they haven’t learned how to do better or make things right. which is why this is such an important beat in the scene in the studio:

hounding julie to rejoin the band, even with such nice sentiments as “you’re the best thing that’s happened to us since we became ghosts”, does nothing to address how undervalued julie feels getting stood up because, as she points out above, their ability to do what they love is very limited without her. that makes her a powerful and essential member of the band, but it doesn’t prove that they care about her, julie, the person. and you can see in the reaction shot how the truth of her words lands for all of them.

their remorseful silence gives julie the opportunity to reiterate one of the points she made the night before, and it’s important to note which part of her hurt feelings she chooses to revisit.

the fact that they made the choice to pay more attention to their old music in spite of the music they were creating together is the thing that hurt her feelings the most. and, of course, her open hostility and her imagined reasons for why the boys picked sunset curve over julie and the phantoms (i.e. selfishness) puts luke on the defensive and ends with everyone leaving the scene dissatisfied.

great! okay, so here’s the part that’s bugged in the past (and the present, just. a little less so.) — in their attempt to deescalate the situation, alex and reggie give julie, and the audience, the all-important luke backstory. but like asking julie to rejoin the band with a shinier gig than a school dance flies in the face of actually making amends, so, too, does asking julie to empathize with luke’s emotional journey when the boys failed to take julie’s into account when they hurt her. only this time, it works as an olive branch.

now, i’m not saying that julie’s acting out of character in being sympathetic to luke’s pain, quite the opposite is the case. and i’m also not saying it’s bad that she does find sympathy for his situation — again, i’d argue that the opposite is true. it’s just, at the same time, it’s not a good look to force aside the young woman of color’s hurt in service of the white dude who hurt her feelings in the first place’s tragic backstory. the narrative is asking julie not to be mad at the choices luke made in the past two episodes because he’s really sad, actually.

and sure that’s an ungracious read of the moment, but i stand by the fact that it’s present in the text of the episode all the same, even with a little more nuance than i’m currently giving it credit for.

all that being said, alex and reggie do a bit to win back this highly insensitive maneuver with another stab at an apology.

alex addresses julie’s comment about them knowing “how tough it’s been for her to play” by reiterating that not showing up let her down and they get that that’s a crappy way to feel, while reggie takes a crack at julie’s “our songs were good” by emphasizing that they all love being in a band and making music with her. it’s a slight step up from their sorry in the garage, but not a complete fix because they’re all still sitting with the fact that they need julie to make the most of their music and how that complicates their declarations of loyalty.

the thing that makes this attempt at reconciliation different than those prior, of course, is this line:

the acknowledgement that things haven’t been fixed + the politeness + the implication that they’re willing to put in the time to earn her trust back so long as she lets them makes the apology a good enough one to accept. well, that, and:

one gets the sense that if rose could actually speak to julie in that moment, she’d be reminding her the value of grace. and, of course, we know that this also serves as a reminder to julie that good things are fleeting, loss is around every corner, and holding close what you care about is important. so she does just that by letting go of her (righteous, righteous) anger and reuniting the band.

still, even though alex and reggie have had their chance to make amends, luke doesn’t get the same moment to show he’s actually paid attention to julie’s needs in 1.06. so, naturally, he starts immediately in their first scene together in 1.07.

i mentioned in my exhaustive list for “finally free” that julie picking a sunset curve song for their reunion number is a lovely, understated way for her acknowledge luke’s lost musical legacy, and i have similar feelings about the fact that luke suggests “edge of great” for their follow-up gig. it’s his first step in proving to her that he does care about the music they’ve written together with actions instead of empty apologies and misguided gestures.

by the end of the episode, though, the three of them take a step back (reggie gets points for his being, like, half a step) when they learn that, in addition to letting down julie, one of the consequences of their night chasing revenge is a ticking clock on their existence.

though i understand the urge to protect julie from the alarming news that their power is going out, there’s also a lot of selfishness behind the decision. julie loses them in the end no matter what, but lying to her about it and planning to leave without an explanation shows a disregard for her emotional journey in a similar way standing her up did. in fact, this plan is basically to stand her up for eternity. not cool, guys.

naturally, since it’s luke who’s the one proposing the terrible plan and it’s luke who never officially demonstrated his understanding of how he hurt julie’s feelings by not showing up when it mattered, it’s fitting that he’s suddenly more in tune with his own feelings. and, with that, comes a new awareness of how his and julie’s feelings interact, starting with this moment in 1.08.

you can see his conflict over her declaration. she’s worried without knowing just how much there is to be worried about, and that makes him sad because it’s confirmation of the fact that he’s important to her. that losing him will mean a lot of pain for her. but instead of cluing her in, he makes a conscious choice to continue withholding the information of his imminent departure. and maybe it’s such a weak deflection because he’s already starting to come to terms with how unfair he’s being to her, but even so, he’s not being a good friend when julie is showing up for him in big, unexpected ways he’d never even thought to ask for.

and again, here —

— just after they’ve acknowledged that there’s a something and not a nothing between them, you can see him sober with the thought that she doesn’t know they’re about to lose each other. but it’s still not enough to move him to share. maybe because he prefers that she live with the possibility of that something when he no longer can, maybe because he’s too caught up in his own feelings about how crappy this hand they’ve been dealt by the universe is. but in any case, he keeps tight-lipped.

UNTIL.

it’s seeing her excited about a future their music can’t have that finally pushes him into coming clean. and i love how subtly this demonstrates that he has been paying attention, actually, and he knows that what hurt julie the most was the feeling that their music took a backseat to his past. if he crosses over without telling her the whole, ugly truth about the mistake he made by standing her up, then he crosses over stuck in that mistake. because part of that whole, ugly truth is the beautiful realization that no music is worth making, julie, if we’re not making it with you. and he’s not quite at that particular aspect of his truth yet — he still has to experience the what if of caleb’s club to be able to make the declaration with the conviction he does — but when he finally does tell her that and means it, she’s given the catharsis she’s needed since the dance. because he’s backing up his apology with action (i.e. being willing to literally no longer exist instead of making music with someone else) and providing her with the same consideration she showed him when she rejoined the band because his loss felt more important than her anger. and reaching that level of give and take in their relationship, physically represented in their hug, finally sets them free.

so, yes. even though 1.06 is clunky and a little tasteless at times, i can acknowledge that the story manages to win any missteps back. quite poetically, honestly. all’s forgiven.

#julie and the phantoms #jatpedit #jatp meta #julie molina #luke patterson #reggie peters #alex mercer #gifs by catty #long post #am i disappointed with myself for not being able to include any gifs from 1.09 because i reached the limit already #yes. absolutely.#should i have split this post into two parts to fit it all?#maybe so #will i do anything about it?#obviously not #FATED BANDMATES #melody & words #together my cats can queue anything

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thevindicativevordan · 3 years ago

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On Livewire

You know Leslie is probably the most popular and well known female Superman Rogue mainly because they use her so heavily in outside media.

Which makes sense given her debut in Superman: The Animated Series, but it still kind of fascinates me. They didn't bring her into comics continuity until 2006 apparently, with Gail Simone and John Byrne (Byrne of all the creators!) being the ones to finally fold her in. Even after they brought her in, they still have never given her that much attention or focus which is a disappointment for me frankly, because Livewire is honestly fantastic in Scott McCloud and later Mark Millar's Superman Adventures runs, and I would say with complete sincerity that those two are probably her best writers. "Millar writing a female character well?" you scoff at in disbelief. I know, I was shocked too! But she's funny, clever, and a huge pain in the ass for Supes. Reading how she was used there, and rewatching her STAS incarnation recently, really made a big realization for the character hit me like a lightning bolt (couldn't resist):

She's basically an evil superpowered Lois Lane! I know I can't have been the first one to realize that, although I haven't seen anyone else actually outright state it anywhere, but c'mon it's so obvious! She's a reporter of a sorts as well thanks to being a disc jockey, her debut in STAS even has her interviewing Lois and Clark! She's got strong opinions on Superman that conflict with the general opinion about him (Lois being pro-Superman when everyone else is more hostile towards him at first, Livewire being anti-Superman when everyone else has embraced him as their hero). She's rude and abrasive, and doesn't care if her opinions offend people, which sure does remind me of Lois at her meanest.

Livewire to me is an examination of what Lois would be like if she abandoned her morals or never really had them in the first place. Leslie doesn't care about the "truth" which is the big difference between her and Lois. Lois can be headstrong, willful, and outright rude, but it's all in service of her pursuit of higher ideals. Livewire doesn't care about that, she carries about getting people to pay attention to her, and getting the recognition and wealth she believes she's owed.

What I'd Do With Livewire

It wasn't until I had that big realization about Leslie that I figured out what role she should play with regards to Clark: She should be Clark's old college ex who was the one who got him into journalism in the first place.

Clark's college years are unexplored territory narratively, typically we jump from his childhood in Smallville right into his debut in Metropolis. Now I know Clark dated Lori that mermaid back in Pre-Crisis during his college years, and while that's a fun bit of trivia, it doesn't really add anything meaningful in the same way that I think Leslie and Clark dating could. So I'd rather go with Leslie because I think she makes for a better foil for Clark and because the two of them would benefit from having a deeper connection established, plus Leslie could get fleshed out as a character more.

I like the explanation that Clark chose journalism in part because it challenges him in ways his powers can't, but in the comics they've rarely bothered to explain how he chose that field in the first place. I would have meeting Leslie at college be that big moment where he starts to figure himself out. She's assertive and confident, and Clark is attracted to that for similar reasons he's attracted to Lois. Leslie would start out as an optimist and idealist in the same way Clark is, and the two would bond and go into journalism together, with Leslie being the one who really believes in the field initially. They'd both be big believers in the duty of the press to inform and the presses ability to shape public opinion, with Clark attracted to investigative journalism and Leslie attracted more to broadcast and digital journalism. They start to date and for a moment, Clark seriously wonders if this is the one.

The big break between them comes when Clark and Leslie go on a trip around the world during their senior year of college. That trip would be where both of them learn how crappy the world is. Clark always had some idea of how bad things were because of his powers, but the trip is where he really starts to realize that there is a real need for someone of his powers to step up, and that there are hard limits to just how much he can accomplish as a member of the press. That same realization is what shatters Leslie's idealism and optimism. She loses faith in the ability to make a difference, to punch through the wall of public indifference, and as a result she gives up that dream. Instead she decides that if you can't beat them, join them: she switches instead to telling the masses what the powers that be want them to hear in exchange for money, to saying whatever the masses will give her attention and prestige for, embracing tabloid journalism that prioritizes clicks and engagement over information. Ultimately it destroys the relationship between Leslie and Clark with her viewing him as a sap and him viewing her as a sellout.

I think that origin really would help flesh out her worldview and motivation a lot more. She's a former idealist who has been broken by the world in a similar way to Poison Ivy. Leslie thus acts as a foil to Clark and Lois in that she's someone who let the world rob her of her idealism and sold out on the truth in exchange for material success. She's what Clark or Lois could've been if they took Lex's offer to work for him, and they should recognize that to some degree. Clark should have conflicting feelings for her, not romantically that relationship is dead, but in terms of sometimes he wonders if he's just wasting his life trying to fight for truth and justice. So few people seem to care about those principles, why hold on so tight to them? Why not just look out for his own self-interest the way everyone else seems to? It's the refusal to give up even when it looks pointless that makes the two of them different, and makes Clark a hero and Livewire a villain.

How I'd Like Livewire To Operate

There's a lack of imagination in how Livewire is used on the comic side as I see it.

Like most Superman Rogues the typical Superman writer doesn't seem to have a clue what to do with her beyond generic "villain" stuff, but that does a disservice to what Livewire brings to the table. Livewire does want to fry Superman to a crisp, but that's not what her daily goal is to accomplish. More importantly, she wants respect and she wants money, and the way she gets both is not by trying to rob banks, it's by leaning into her background as a media personality combined with her new powers. Unleashing electric bolts is honestly the least impressive part of her powerset in terms of her ability to manipulate anything and everything technology.

The Internet? Livewire can crash the entire thing with ease, or restrict access to portions of it. She can do the reverse and smash through firewalls and encryption like it's made of paper. Imagine Livewire shutting off the power grid or causing it to explode, secretly using your "smart" tech to record your every move, uploading ransomware to every piece of technology in Metropolis, emptying the bank accounts of anyone who annoys her, or bringing Metropolis to it's knees thanks to the "City of Tomorrow" being a test ground for the Internet of Things, so everything is connected and thus easily manipulated. Smart cars crash into each other, elevators randomly drop, trains are unable to stop and simply accelerate onward unceasingly, plans attempting to land find their instruments on the fritz, anything and everything is Livewire's to control. But terrorism, while entertaining and occasionally profitable, isn't Livewire's main focus either.

One of my favorite Superman Adventures stories with her had Livewire manipulating TV broadcast signals so that any time there was a male news reporter on screen, the signal wouldn't come through. Stuff like that, where Livewire is making life hell for people in a way that isn't immediately life-threatening is what I envision as her day to day operations, but her bread and butter is fake news. What Livewire is REALLY good at doing is manipulating the public due to her journalism background plus her powers. She can make fake videos that look totally authentic, fake articles that seem to come from credible sources, fake voice recordings, she can make anyone appear to do or say anything through the Internet, and then she can upload that to the devices of every single person in Metropolis.

You can get stories about the mayor being framed for taking bribes, local activists cast as grifters, and supposed upstanding citizens such as Lois Lane and Clark Kent appearing to take orders from criminals like Intergang on what stories to run. Basically you lean into the journalism aspect for Livewire stories where Clark and Lois have to investigate to see whether what Livewire is putting out there is fake or legit, with peoples lives and reputations at stake (including frequently their own).

And when Superman and Livewire actually do clash physically? I don't care how it gets justified, Livewire simply being that powerful, her lightning being "special", she has the ability to manipulate Superman's bioelectric field, whatever: she can hurt him. When she hits Supes with lightning, it burns. It's painful as all hell. Livewire needs to be a threat and I'd like her to be treated as a powerhouse since I don't see a reason why that shouldn't be the case. Livewire is a really cool Rogue, there's a reason she's managed to keep getting used long after the DCAU ended. I hope the comics creators start utilizing her to her full potential.

#superman #livewire #lois lane #dc comics

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warrioreowynofrohan · 4 years ago

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Redemption Arcs in the Stormlight Archive

As far as I can tell, there are two main types of redemption arcs in the Stormlight Archive.

The first kind is by far the more common; we see it with Dalinar, Szeth, Elhokar, and Venli, and we see it rejected by Moash and Amaram. It involves the character repenting if the wrong they have done, taking responsibility for it, and seeking to do better. It often also involves the choice to reveal their actions and be answerable for them, most particularly in the case of Dalinar (via writing Oathbringer) and Venli (when she confesses her actions to Rlain, and accepts that he would be quite justified in rejecting her; and likewise when she returns to her people and accepts their hostility and suspicion).

For Szeth, confession is somewhat redundant - there are probably few people in Roshar who don’t know of his actions - but his choice to swear himself to Dalinar (whose brother he killed and whom he tried to kill) and accept imprisonment at Dalinar’s demand, and the scene with Navani showing that he not only accepts being hated but outright wants it, show that he is very willing to be held accountable for his actions. I’m not sure that Elhokar ever actually learns the full consequences of his actions regarding Roshone, but that seems somewhat secondary to the larger point of him realizing he’s a bad king and trying to become better and humbly try to do what he can. (I’ve seen some people say that it’s selfishness for him to go on the mission to Kholinar when he openly acknowledges he think he’ll be more liability than help, but that seems to go against the core theme of Shallan’s arc in the same book - that trying and failing, and learning, and trying again is better than not trying at all.)

The people who reject this form of redemption are the ones who reject responsibility for their actions; they feel guilt, but try to push it aside, rationalize their deeds, and ultimately give into Odium so they can avoid grappling with their guilt. In Moash’s case, the rationalization is everyone is terrible, so if he’s terrible too it’s not like that’s an anomaly or anything he should do anything about. For Amaram (and Taravangian, if you ask me) it’s rationalizing that his actions are for the greater good and trying to deny the selfish motives behind them.

But there’s a second kind of redemption arc that’s a somewhat different path. And this is the part of the essay where I try to talk myself into being okay with Gaz.

Gaz is just an awful person. He’s spiteful, selfish, venal, and petty. He goes out of his way to make Bridge 4 miserable. And - rather like Moash during his Oathbringer mini-arc - he knows it. From TWOK Chapter 30: “He’d hated himself for a long time now. It wasn’t anything new to him.”When Shallan shows up and offers the possibility of a chance to be good, to do right - something he wouldn’t have imagined on his own - he risks his life for it. He experiences people being grateful to him for it. And from that point, he becomes different. He’s openly devoted to Shallan, because she’s the one who offered him this opportunity to be a person he doesn’t hate. When she draws him, he almost cries. He’s, almost unbelievably, happy. In Oathbringer, he actively wants and enjoys the opportunity to make a positive difference. He doesn’t make any attempt to take responsibility for his past actions or apologize to the bridgemen (though, given the change in their respective positions, any apology would be more likely to be taken as cowardice than sincerity), but in the narrative it’s as though his very happiness in his new life makes up for this. He doesn’t carry the change from evil to good as a burden, the way many of the people in the first category do, but as a privilege.

And I think Rhythm of War was what made me start putting that together, because it’s where we see a similar moment of transformation with Leshwi. (Whom I like a good deal more than I do Gaz). The moment Venli reveals herself as a Knight Radiant, Leshwi sees the possibility of another life she wouldn’t have imagined possibile, and reacts with joy. And I’m going to quote the scene, because I find it one of the most beautiful ones in the book.

Leshwi fell to her knees before Venli, not flying, not hovering. On her knees. Venli knelt as well, as Leshwi still held to her face - but the grip softened.

A cool, beautuful light flooded in through the window behind. Like a frozen lightning bolt, brighter than any sphere. Bright as the sun.

“What have you done, Venli?” Leshwi said. “What have you done?”

“I...I swore the First Ideal of the Radiants,” Venli said. “I’m sorry.”

“Sorry...” Leshwi said. A joyspren burst about her, beautiful, like a blue storm. “Sorry? Venli, they’ve come back to us! They’ve forgiven us.”

What?

“Please,” Leswhi said to Longing, “ask your spren. Do they know of an honorspren named Riah? She was my friend once. precious to me.”

And then Leshwi immediately changes sides, fighting to defend the unconscious Radiants and the civilians. Because for the girst time in millenia, she has hope that choosing right, choosing good, is even an option. The joyspren says a lot, because Singers don’t attract spren as easily as humans. The wonder, delight, reverence in Leshwi’s reaction is incredibly powerful to me.

So those are our two types of redemption arcs. The people who go looking for it, strive for it, seek it, suffer for it; and the ones to whom it is unimaginable but, when they are unexpectedly offered it, receive it with joy.

#brandon sanderson #the stormlight archive #dalinar kholin #szeth #venli #elhokar #moash #gaz #leshwi #redemption #rhythm of war #row spoilers #one owed five hundred spheres #and another owed fifty #the debts of both were forgiven #which will love more?

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dianapana · 3 years ago

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SH Day 9 – Never Have I Ever

@sasuhinamonth

Rated T, Modern AU, OOC

Oof , for this one ideas just wouldn't come to me, so once again I looked through older stories I never finished and found this one which I thought fit to a certain degree. I didn’t really wanna go the normal route of the game itself, so I just interpreted the prompt as a new experience. I hope you enjoy, ~Love, Dia

It wasn’t uncommon for people to randomly sit down at his table, especially if those people were girls. They’d stumble onto the seat and act like it was all an accident, like they didn’t see him and thought the table was empty, or that they tripped and ‘landed’ on the seat. Other times they’d ask if they could sit because there were no free tables anymore, granted this last excuse happened to be true once or twice, but usually, it was just a lie and the two would sit in awkward silence for a few moments staring at each other with a number of empty seats all around.

However, the person sitting across from him was a girl he saw around the diner quite often, urgency written all over her face. Sasuke raised an eyebrow at her, but the situation didn’t faze him at all, thus he continued eating, putting 2 French fries in his mouth and slowly chewing, waiting for her to state her reason and purpose.

“I need you to pretend we’re here together” Sasuke narrowed his eyes at her. “My ex just walked in and I’m not in the mood to deal with him. If I’m here with someone, in this case you, he’ll either leave me alone or he’ll at least leave sooner.” His eyes moved to a guy that was just walking to the counter still obvious to his ex-girlfriend. “Please…” her eyes were begging him to help.

Sasuke sighed and pushed his milkshake her way. “It’d be strange if we were here together and I was the only one that had ordered something” Her pale eyes lit up like Christmas trees.

“Thank you so much. I’m Hinata by the way” She gave him a genuine smile. He nodded her way.

“Sasuke. I’d shake your hand but that would look strange since we’re supposed to be here together.”

For a second, silence fell over their table but Hinata started giggling at what he just said, her laugh could have also been intertwined with nervous laughter for it was a little too loud for Sasuke’s own liking, either way, he couldn’t help but smirk her. Naruto would freak if he saw Sasuke talking to a stranger, a girl no less, and not only that, but he was actually putting in the effort to help her and maintain a conversation. He had never willingly had a conversation with a stranger before.

Sadly Hinata’ sudden laughing fit turned the attention of a white-haired guy, also known in Sasuke’s head as the girl’s ex, to them. The said guy looked their way, moment in which Sasuke noticed the myriad of feelings showing onto his expression, he seemed to go from hopeful to confused to slightly irritated and then settle for putting on a fake smile and strolling their way.

“Hinata, long time no see, how are you?” The ex-boyfriend looked at her and gave Sasuke a not-so-subtle glare. He took in their table before raising an eyebrow and immediately asking another question, essentially cutting Hinata off before she could answer his first question. “Matcha milkshake? I thought you hated those”

“Oh, I used to yea, but I think they changed the receipt here. I tasted one sip from when Sasuke ordered one last time and it was pretty good, so today I wanted to see for myself” She said smoothly and took a big sip of her, well…his milkshake. “And I’ve been pretty good. How about yourself?” She smiled way too sweetly at him.

“Uh…can’t complain” He took another second to examine them again. “Well, I was actually thinking maybe we can get together and have dinner sometime next week?”

“Dude, you don’t ask out a girl when she’s already out with another guy, that’s just fucking messed up” Sasuke said, without actually meaning to his voice got deeper and he glared at the ‘ex-boyfriend’. He didn’t care that he and Hinata weren’t there together for real, it’s a universal rule you don’t ask out a girl if she’s there with a date, that’s just a douchey move.

Hinata was grinning at him from behind her hand, her eyes glittering with amusement. Sasuke had to admit something to himself, the strange girl was pretty, but she was even more beautiful while she smiled.

“Chill dude. I didn’t think this was a date” he said raising his hands as if trying to say he meant no harm. “I mean who the fuck brings a date at this shitty diner” He whispered under his breath, but both Hinata and Sasuke heard him and their moods turned pretty dark. Sasuke’s instinct was the punch the guy’s lights out, another new feeling he hadn’t experienced, at least not because of a girl. He is usually in control of his emotions and rarely loses his cool.

“Sasuke wanted to go have a sweet picnic in the park near my house, which was so thoughtful and sweet, but sadly the weather didn’t agree with him because it started raining. That’s when I remembered how I wanted to taste the milkshake, so I proposed we came here to wait for the rain to stop.” Sasuke had to admit, her lying skills were top-notch, her story had a natural flow to it, she composed a strong and believable narrative with pretty much no holes, her delivery too added to its credibility, fot she spoke with such ease. Hinata reached for his hand that was on the table and squeezed it while spreading her web of lies. Sasuke noticed the ex-boyf rolling his eyes, and a part of him felt utter satisfaction from the jerk’s annoyance.

“Whatever. I gotta bounce anyway. See you around” He turned and started walking out the diner without waiting for a reply. Sasuke snorted when he noticed that the ex didn’t even purchase anything. He was lost in his own world of trash-talking the guy but was got distracted by the petite girl in front of him that whispered not so quietly “I fucking hope not.”

“Well, that was fun.” He smirked at her. “Let me guess, bad break-up?” Hinata sighed and ran both hands over her face.

“The worst. It was a set up and we went on a few dates which were fine I guess, but I just didn’t really want a relationship at the time, or at least not with him. Either way, the break-up itself took like 3 hours cuz he just wouldn’t accept it.” She took another sip of his milkshake and gaged. “Oh god, I forgot how awful this tasted.” She said more to herself, it didn’t take her a full second to turn beet-red.

“Oh my God, I’m so sorry this is yours. I d-didn’t mean to drink from it, it just happened. Let me buy you a new one” She got onto her feet but Sasuke grabbed her wrist and forced her to sit back down.

“Don’t worry about it. You barely drank any”

Had he been in his right mind he’d tell the girl to buy him extra fries too for the trouble and then he’d tell her to scramble. But for some reason or another, he didn’t want her to leave just yet. He pulled the glass back to him and drank from it just to prove to her everything was fine.

“I don’t understand how you can drink that. It’s not even sweet” Her nose wrinkled in disgust, Sasuke didn’t throw the world ‘cute’ around easily but she looked adorable.

“I hate sweets. So, this is perfect” Her jaw dropped, she looked like he had just said he hated puppies and his mother. Hinata blinked a few times, closed her mouth and opened it to say something, closed it back again. She looked genuinely confused, like someone that hated sweets wasn’t meant to exist.

“I-I don’t understand. How can you hate sweets? T-They make the world a better place. Don’t tell me that after a shitty day you don’t go home to eat a gallon of ice cream with a dozen of cookies because I will not believe you”

Now it was his turn to gag just thinking about the amount of sugar in the ‘snack’ she described. His reaction repulsed her.

“Oh wow. I’m perplexed. I had no idea people like you existed”

The fact that she said it with straight face made him believe she honestly didn’t think that what he said could be true, which for some reason he found extremely funny.

“Huh, you learn something every day.” She said with a smile, it seemed she had gotten over her confusion and found the whole conversation quite as amusing as he did.

A waitress came over to take Sasuke’s now empty milkshake glass.

“Would you like anything else?”

“Could you please bring me a veggie burger and a blueberry lemonade? And some fries too” She ordered and it relieved him that she did, he hadn’t had a lunch companion besides Naruto in a while.

“I’d also like some fries and another matcha milkshake”

“I’ll be right back,” The older woman said and left right away. When he turned back to the girl before him, she was staring at him with a small smile on her lips so he raised an eyebrow at her.

“I was sure you’d tell me to leave, or tell the waiter you’d like the bill and left yourself.” She put both of her hands on the table and played with her bracelet. “I’ve seen you around the diner. You’re not the…most welcoming face here and I’ve also saw you get up and leave on multiple occasions when someone sat at your table”

Her cheeks were a shade or two darker and she didn’t look at him but rather looked at her fidgeting hands. She was embarrassed for admitting she noticed him way before this encounter, she was nervous that she had crossed a line. What she said was true, he knew he wasn’t the nicest person but he did genuinely enjoy her presence, also he’d been in a number of situations where he would have liked someone to pretend to be there with him so he’d escape an acquaintance or a fangirl. Plus, the very same day Naruto told him he should do an act of ‘kindness’ a day or his karma would turn bad. He didn’t believe in the nonsense his blonde friend talked about, but when she sat down she looked in so much distress even he didn’t have the heart to tell her to leave.

“You’re right, But, you looked frightened, I’m not heartless,” He said in a neutral voice and Hinata blushed even redder. His lips twitched upward. Where did her confidence and acting skills go?

“I-I-I didn’t mean you are heartless…just…umm, uh” she was at a loss of words.

“It’s fine. You didn’t offend me” Hinata looked up at him relived.

“I didn’t? Oh, that’s really good, because I didn’t mean anything rude by what I said” her shoulders relaxed and her blush faded, not completely she was still a bit flushed but not quite as red as before.

“Since you knew there was a chance, I’d leave why did you sit here?”

Her smile softened a little. “Have you ever seen a person and had the urge to talk to them? For them to be your friend? I don’t mean to sound creepy, but every time I saw you here, I always wanted to talk to you, I just never had the courage. I guess the situation gave me the opportunity to do so. And I’m quite glad because, I don’t know about you, but I’m having a pretty good time talking to you” her cheeks flared even redder with each confession, for some reason admitting her thoughts in front of him was embarrassing. “Oh, just so you know, I’ve never done this before. I just had a pretty bad day and didn’t want it to get worse by having to be in his company for long.”

Their talk continued for a while longer until finally, their food arrived. The older waitress placed their orders on the table.

“There you go. Enjoy your food”

“Thank you” Hinata nodded at the waitress with a smile.

“I have one more question.” Sasuke said as Hinata took a sip of her lemonade, but gestured with her hand for him to go on. “What happened? When he was here you were a very smooth talker, but when you thought you offended me you seemed to be drowning in your own words”

Her blush came back and Sasuke decided he quite liked how she looked with it. She played with the tips of her hair, rolling it onto her finger. “W-when I was little, I was extremely shy, I couldn’t even look at strangers, my parents entered me in acting classes in hopes that I’d get over it. It didn’t really go as planned. I’m a lot better now, obviously but I still get anxious easily. Even so the acting classes did help me, when I’m in a crisis I seem to calm down and I’m able to collect my thoughts” She looked a bit over his shoulder in deep thought. “It’s like a defence mechanism but it doesn’t always work. Case in point when I o-offended you, which I’m sorry about again”

“I see…also you didn’t offend me, I told you this before. You only stated your opinion, which was true by the way”

She smiled at him once more and they started eating, it wasn’t complete silence, they made small talk asked about normal things, hobbies, friends, school and all that. Once they were finished and Sasuke asked for the bill since it was getting pretty dark and the rain finally stopped, he noticed her playing with the bracelet again.

“Something wrong?”

“Huh?” she looked up at him confused.

“You were fidgeting your hands like you did before when you were nervous. Is something bothering you?”

Hinata opened her mouth. They had spent about 2 or 3 hours together and he was able to pick up some of her habits already. He did seem like the type of person that paid attention, he was quiet but observing. Without meaning to she associated him with one of those old people from the park that sit on a bench and watch everyone pass by, like they don’t belong to this world, they just witness it, they are watchers that see the smallest details.

He didn’t know what she was thinking about, but her smile was beautifully tragic, she seemed sad, or at least contemplative.

“I was just thinking how much I enjoyed our…lunch? Dinner? And was wondering how awkward it would be to…a-ask for your number m-maybe?”

He also liked when she stuttered a little. “I don’t see why not. I enjoyed myself as well”

If only Naruto saw him give his number to a girl, the blonde would never let this slide, which was also why he’d never tell his blonde best friend about the petite blue-haired girl that made his ordinary day a little bit extraordinary, she proved that sometimes doing things you’ve never done can have a good end result, in this case talking to a stranger and pretending to date led to a pleasant evening and hopefully a friend and maybe more.

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sashannarcy · 3 years ago

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hi op what are your thoughts on uhhhh *spins wheel* sasha's season 2b arc (hope that's not too broad a subject)

edit: putting this under a cut bc it got LONG but. enjoy (???)

okay I gotta start by saying I didn't expect the depth of it at ALL; I knew Sash was featured prominently in the ending episodes of s2 based off of what my friend informed me, but like. I was not expecting 4.5 episodes to be almost ENTIRELY centered on their character arc and design (the .5 being the first half of True Colors).

that being said, I think Sash's 2b arc is PHENOMENAL bc of the way the nuance in it is written so incredibly well. this character is about to perform the most antagonistic move that they've pulled in the whole series so far, which is the act of betraying both Anne and Marcy in order to support Grime and get them home safe, if they so choose to go home (as an aside, I think at this point Sash has probably decided that she likes it more in Amphibia than back home, and there's one line that I'll get to that seems to be VERYYYY indicative of that. and if this is the case, it makes sense to me why Sasha would want to help Grime at all and why they don't really seem quite eager to follow Anne and Marcy back home. but! important to note that they still give those two the choice to go back if they wish, because at the end of the day Sash loves them and wouldn't try to force them to stay). and yet we see!! this back and forth!! this FIGHT that's happening in their mind, the way there's a flash of guilt they express at the very end of The Third Temple directly after confirming to Grime that things are still going according to plan, their convo w Anne at the end of The Dinner, the entire plot arc of BotB, and ofc the Sashanne duel in True Colors. I want to make an analysis post for each of these episodes because they're so fucking PACKED w shit to analyze, but I'll try my best to touch on all points here.

obviously we first learn of Sasha's plans to betray Anne and Marcy in The Third Temple. but what's important is that throughout the entire episode, there's several points where Sash switches back and forth between manipulation and honesty. I can talk abt this w confidence just based off of the whole. *gestures vaguely at myself.* but Sasha's initial apology in this episode was sheer manipulation, I think we all know that. however, when Sasha has to do their final test in the temple, those few lines they exchange w Anne in the moments before they raise themself up off the floor and launch themself into battle... those were genuine. they know they've been a shitty friend, and they're willing to accept that. so you have this game, almost, where Sash keeps flipping between putting on a mask to ensure they can keep up their facade until Grime secures the city and genuinely acknowledging their behavior and knowing that what they are doing is not going to sit well w Anne and Marcy.

so with that, The Third Temple sets the premise for the rest of the episodes of the season as far as Sasha's character arc. The Dinner is such a good fucking episode to follow with, because it hammers in the fact that Sasha has not changed. what it ALSO hammers in is she is still acting in her own self-interest - to put it in her words, she wants to get the friendship back under control. they still lash out, they still have a short fuse, they're still heavily opinionated and rough around the edges and prickly because this is an environment where they feel threatened. they're finally reuniting with the two people that mean the absolute most to them, only to realize they've been left out of the narrative. also not for nothing, but their trauma in Reunion got joked about in this episode which led to them blowing up over it, and like. I'm giving that one a pass bc man. anyway. at the end of the episode they say they like who they are, but it's said with a frown, which I think is fucking GENIUS. because there's an actual meaning to this line - they don't ACTUALLY like who they are. we have plenty of evidence that they don't like themself. what they MEAN is that they don't want to change, because that would mean giving up a security that they need in order to keep themself together. AND THIS IS DEMONSTRATED CRYSTAL CLEAR IN BOTB. they literally PURPOSEFULLY detach themself from Anne and Marcy bc they know they want control but they ALSO know that their behavior is just going to hurt the other two, so instead of compromising, they just go hey I'm gonna do my thing and you guys can do yours. and we'll both get what we want. and if that's not evidence that this character is fucking GRAPPLING with how to grow and change as a person, idk what is

and then. sigh. we get to True Colors. ofc Sash goes through on their betrayal - they're loyal to a fucking T once you dig beneath the surface, and they wouldn't just not follow through for Grime. what is absolutely KEY here is the fact that they are still leaving room for their friends' best interests, as in they're not trapping them in Amphibia but rather explaining how they're gonna help Grime take over, implying they'll go back home once they're done, but if Anne and Marcy wanna go back now, that's cool. if she didn't give a fuck abt their wellbeing, she'd just keep them there w her. but she doesn't. and then Anne starts retaliating, and. well. we ALL know Sasha does NOT do well with criticism of any kind. so they just go okay I'll send you back now then (and this is STILL an action motivated by what they think is best for Anne). BUT THE LINE. OHHHH THE SUPER IMPORTANT LINE THAT MADE MY HEAD SNAP UP AND MADE ME PHYSICALLY GO "YIKES" OUT LOUD. is Sasha saying "say hi to your parents for me." it's like a goddamn full-on sucker punch packed into one sentence - seven words, and all of a sudden we know for sure this kid does not have a good home life. I could go into elaboration on Sasha and the way she views familial ties throughout the show, but I won't bc that's gonna take this already super long answer and make it even worse. regardless, Sasha has once again flipped the switch and is indulging in their worst behaviors, which is full on controlling and holding power to act on what THEY think is best in the moment. and the moment Anne snaps, the moment Anne yells about Sasha being a horrible person, literally EVERYTHING shifts and the reaction from Sasha is VISCERAL. and what I mean by that is. it's not just the look in their eyes at those words. it's not just the sudden and complete loss of meaning, of self, of motivation after they've lost Anne's support. it's not just the way they stare at their own reflection in a sword that represents the color of the person they're trying their hardest to protect. it's the way that for the rest of the goddamn episode, they spend it trying to do the one thing they fear the most: giving up control. I'm gonna elaborate on this whole aspect in a different ask bc I was asked abt it, but the way Sasha acts towards Anne after the fallout, especially at the beginning of the duel and during the confrontation w Andrias, is fucking monumental. they struggle so much with how to change their own behavior, yet the very moment they lose the support of the people they've been trying so hard to love and care for in their roundabout way, they can change the way they act. because who the fuck is Sasha Waybright without Anne Boonchuy and Marcy Wu? in her mind, no one. she doesn't have any idea of who she is outside of this, so ofc she can act differently when she's thrown out in the cold. after all, it doesn't take much to warp an identity that doesn't exist.

tldr; god. how do I sum this up. Sash's 2b arc is smth that's incredibly intricate and complex from the way they constantly flip between desperately needing control and feeling guilty that this is the way they need to live. and True Colors is able to finally demonstrate to us the final piece in how they operate - without their friends, they lose sense of who they are, and their personality comes undone. in 4.5 episodes the writers managed to give us 1000 aspects to their character that we hadn't gotten to explore, and we can see that Sasha was never meant to be the villain. so. final review is that's some good shit👍

#this is so so so so long holy shit anon I am sorry #but the s2 2b arc is like. oh my god it sure is smth #PLEASE GOD IT'S 2:56 AM. I HAVE CLASS AT 9:30 GMFMDMDM #why do I do this shit to myself #sasha waybright #amphibia #anonymous #ask #long post

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lokiondisneyplus · 3 years ago

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Every Marvel Cinematic Universe TV series to date has had its own distinct look and feel, from the sitcom-derived pastiche episodes of WandaVision all the way back to the grim-and-gritty, dimly lit street narratives of Jessica Jones and Daredevil. Marvel’s Loki has been one of the MCU’s more distinctive-looking series, though, from the dimly lit, industrial-brown corridors of Time Variance Authority HQ to the vivid neon city of Sharoo on the doomed moon Lamentis-1.

Series director Kate Herron confirms that some of these designs were directly inspired by classic science fiction, while others were more personal experimentation. We sat down with Loki’s cinematographer, Autumn Durald Arkapaw, to break down what went into designing some of the most striking and memorable sequences from the series’ first three episodes.

This interview has been edited for concision and clarity.

EPISODE 1: TIME THEATER INTERROGATIONS

Autumn Durald Arkapaw: Kate [Herron]’s sensibilities led me to get the job in the first place. We shared those sensibilities, around noir films and more moody thrillers, so we were already on the same page as far as lighting and tone. So when it came to the Time Theater, Kasra [Farahani], the production designer, did a fantastic job of creating a space that had a lot of opportunity to feel textural and moody, and create symmetry. I’m big on symmetry. I like to frame center-punched, keeping in mind the architecture of the room, and framing for the architecture and the people at the same time. Stanley Kubrick does that very well. A Clockwork Orange obviously came up in our discussions. Some of our main references were David Fincher’s Zodiac and Terry Gilliam’s Brazil, and the original Blade Runner, in terms of creating spaces that feel strong and weighted, with the people in them placed in a way where the conversation feels very heavy, so you’re paying a lot of attention to the lines, and where your eyes are drawn.

We did some lighting changes above, in the Brutalist ceiling. The lights move, so when we’re cutting back and forth, you see the lights change on the actors. We’re trying to time those movements to the dialogue. The editing was fantastic with that scene. We shot a good amount of coverage, and [series stars Tom Hiddleston as Loki and Owen Wilson as Mobius] play in that space a lot. So we’re trying to always keep it interesting, every time they go back there, changing up the lighting and the projections. That’s probably one of my favorite spaces in the show.

And then the acting, obviously — they’re riffing off each other, and you’re in the room with them and feeling the energy. It was very exciting. That scene was up front in our schedule, so Owen and Tom were getting to know each other in general. We got to watch that happen before our eyes, and it was very comical.

One of the most noticable things about that space is the harsh, rectangular overhead spotlights — Tom Hiddleston starts his interrogation under a spotlight, and when he gets angry, he moves himself back under it. How did you discuss that kind of blocking and framing?

The thing with Tom is, he’s a genius. He’s just a fantastic actor, The amount of things I could say about how amazing he is on set, and character-wise, the list goes on and on. You can introduce marks and let actors know where you’d like them to be for a shot, but that doesn’t necessarily mean that’s where they’ll go. Some actors like to be more freeform. But with Tom, I wouldn’t have to say “Stand under that light.” He just knows, and he’ll play off that because of the space. He walks in, sees how it’s lit, knows our agenda, and uses that in the character.

So there were certain moments where he asked, “Is this what you’re thinking?” or we would have a discussion. But mostly, he uses the environment around him to tell the story as well, and he took in that lighting as part of the character. Actors know how they look in certain types of light. He’s very good at that. So he played with that in that space, for sure.

When we pull back and take in the whole room, the lighting feels punitive — the striped shadows are noir-movie standards, like light coming through blinds, but they also feel like prison bars. Is that something you discussed?

We never talked about prison bars, but in designing that space, Kasra was thinking about what that space was — being arrested, and being judged. It’s a claustrophobic space. Loki is slightly free to communicate and move around, but the walls and ceiling are concrete, there’s this fake light coming in, because obviously, in the TVA, there’s no day or night. You can see the light moving above, but there’s no sun there. It’s just moving at certain moments.

I had an idea, after seeing the latest Blade Runner, where Roger Deakins moves the lights around: Why don’t we have the lights move? It’s not easy to have big tungsten light sources above a ceiling set move like that, because it takes heavy motors. But my gaffer and key grip are amazing, and they figured out a way we could move the lights without causing shadows between each of the sections of lighting. It looks all like it’s moving at the same time. That took a lot of thought, getting those lights to move, and not just creating shafts of light that fade in and out. I think it helped a lot, because it’s very subtle. You’re only going to see it as they’re sitting. You’ll see sometimes the light moves from Owen’s shoulders into his eyes at the right moment, when you get lucky in the edit, and catch it at the right moment. It was great to have the resources to actually do stuff like that.

EPISODE 2: THE ROXXCART VARIANT PURSUIT

I’m a fan of green. If we’re designing a clinical environment, or a shopping mall, and we’ve got overhead fluorescents, I like to use cool white fluorescents that have kind of a green kick. I’m a big David Fincher fan, and there’s an undertone of green in his setups that I appreciate. So Roxxcart is a bigger shop that is now closed down, and Kasra outfitted it like a big-box Costco-type place? That wasn’t a full set — we went to this big warehouse, and he made it feel like that kind of store.

Above the space where we shot in, there were a bunch of fixtures. We completely removed those and put in our own tubes. They were RGB, and we could fade them and turn them off and on to our liking, flicker them, make them red when we wanted. When they’re cool white, I appreciate that green kick. I did a lookup-table color correction as well, to give it that tone. It’s meant to be clinical, but make you feel like you don’t know what’s at every turn. And we’re keeping lights on or off depending on which way we’re looking. Kate was a big fan of that space being very dark, with pockets of light. Our antagonist is supposed to come out of the darkness as people change identities.

We’re also trying to make that space look bigger than it actually was. We’re creating depth with light. That was a bitch to shoot — we had so much rigging. My team was amazing. If you go into a space like that, a Target or something, you’d think “The lighting here is not that big of a deal. It’s just overheads.” But being able to control all those overheads and make them different colors and flicker them takes a lot of rigging, with a dimmer board and the programming. In the editing afterward, it really does feel like a space that’s a lot bigger than it actually was. The red sequence is one of my favorites, for sure.

The camera is below waist level a lot in that sequence. What are you communicating there?

I always like to shoot low! It’s just how I see things. Some of my favorite films are detective thrillers from the past, Zodiac being one of those. I’ve always just loved shooting below the eyeline. Obviously there are moments in features I’ve shot where I want to be higher, because it’s more emotional or romantic or something. But in this kind of story, where you have these amazing spaces, and you have multiple characters you’re trying to frame, all facing off and being strong, I’m just a bigger fan of seeing a ceiling than a floor. It’s an appreciation I have, as far as it feeling more mysterious. When a character is looking more mysterious, and you’re not trusting them, you’re trying to figure them out, I love that kind of framing. It’s amazing.

EPISODE 3: FIGHTING TO REACH THE LAMENTIS-1 ARK

That sequence has a great backstory. I did a lot of prep with Kate. We started prep in Los Angeles before we ended up in Atlanta. We knew that sequence was coming up. but in the script, it just says “Okay, so they end up at Sharoo, and then go on.” The description of that sequence went through an evolution, with the filmmakers discussing things, building the set, and collaborating, so early on, we spitballed about what we thought that could be. Having the support of Marvel and being able to build, and being able to do great stunts, we went bigger.

With the sequence as it evolved, Children of Men was a big reference for us. Kate was really interested in that feeling. She wanted to be with the characters the whole way. We tried to figure out, should the camera be handheld? Should it be Steadicam? We ended up with Steadicam. We looked at some previous oners, because we wanted this sequence to feel like a oner to the audience. Obviously, there are cuts in there, but we seamed certain shots together so the audience wouldn’t feel as though we cut. The intention was to feel like you’re on the run with Loki and Sylvie, racing to the ark, building up tension. You’re there with them as they’re fighting.

My husband’s a DP, and he shot True Detective season 1. That oner in True Detective was something we looked at as well, because it’s just one of those great oners that feels real and has those kinds of textural elements. We did pre-viz, we did rehearsals in the space, prior to shooting there. We went there a couple times and did camera rehearsals. We had an amazing Steadicam operator who I’ve worked with on my last four projects and features. He’s very in tune with my eye, and he’s great with those kind of moves. Kasra understood that we needed certain paths to go down, to help us get from point A to point B, so it feels like a run, it doesn’t feel like people keep entering the same space. Obviously, it’s hard to build really big sets where you can go very far. So he did a great job of knowing what we needed, and then adding stunts, and figuring out how we could feel like we were turning corners whenever we’re moving into different spaces.

How big was the physical space? How much of what we’re seeing there is digital?

Shiroo was very different from Roxxcart. At Roxxcart, we had blue at the end of the aisles, so they look like they’re going on a lot longer than they are. But we traveled to that space. It wasn’t built. Shiroo was built on a backlot. That was a set we had full control over, to build to our liking. Above a certain point, as you’re looking up at the buildings, that’s VFX. But we built the actual buildings up to a certain height, and then beyond that is a digital extension. As far as the depth as well, beyond a certain part of the street, it’s a digital extension. Obviously, the ark is an extension, and we’re using the explosions as cues to do a lot of lighting cues. But it was a very big set, a gorgeous set. It has a lot of texture.

Kasra had the idea of painting a lot of the set in black-light paint, which I’d never seen before, and putting black lights everywhere. Also, we had a bunch of units on top that lit the set for the moon color and those sources, and we had VFX helping us stitch it all together. We had to shoot the sequences and look at the overlays on set to make sure we were creating matchups that would work in the final edit.

For me, that’s a very successful collaboration of in-camera elements — that whole set was real — and having explosions on set along with lighting cues, and then the effects to seam it together and do the extension above and the depth. So everyone really had to play like a good chunk of that. But they’d be effects overall, I think taking what we shot and making it feel like something that big, you know, the buildings are falling. Obviously, we didn’t drop buildings on people. There’s some foam stuff. That was really fun. We shot all that stuff at night.

The camera work in that sequence is some of the most dynamic movement in the series. What was the most difficult part about coordinating that sequence for you?

Rehashing it now, it was the prep. When we were actually there in the space with Tom and Sylvie, running through all of this stuff, it really made sense by that time. We’d been pre-vizing it and reworking it and massaging it for so long that ultimately, once we got on the set and had to follow them with the camera, and the energy was going, and we had the extras there, it all fell together. I think one day, we even wrapped a little early, because we’d just nailed it. When you’re prepping those types of shots, in your mind, you’re always like, “This is gonna be hard, it’s going to be difficult to seam these together, I like perfect headroom.” And you also want it to feel real, and people have to jump and fly and tumble into the frame. But on the day, our execution ended up being pretty good. So that was the most surprising thing to me, because it was kind of a pain in the ass prepping, because there are so many elements. And we’re doing six episodes, so we’re always working, trying to chase the next prep. But it really fell into place nicely.

#Loki #Autumn Durald Arkapaw #DoP

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shihalyfie · 3 years ago

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Neverland, the role of “nostalgia” in Kiuzna’s narrative, and the 02 quartet’s unusual immunity to it

In general, the 02 quartet (my shorthand for the four human characters introduced in 02 who weren’t in Adventure, namely Daisuke, Ken, Miyako, and Iori) have a position in Kizuna that you can call “shockingly favorable” in that they’re kept safely out of the most dangerous parts of the plot in ways the others aren’t. This especially sticks out when we get to the Eosmon incident reaching its climax, when Takeru and Hikari are placed in the same situation as their Adventure seniors, despite the movie and its surrounding media generally portraying them closer in line with the others in the 02 group than the Adventure group.

To be a bit blunt about it, the obvious main reason the story is set up this way is meta -- a lot of the climax’s effectiveness depends on the audience getting sensory impact via recognizing things from the original series (including 02 as well; how convenient it is that all of the international Chosen are in the positions 02 fans would recognize!), and so it’s obvious that said climax would evoke imagery related to the series that was Digimon Adventure, while the 02 quartet would be treated extra-kindly by the narrative due to the need to give them compensatory action screentime given certain real-life events. But just because the originating reason is meta doesn’t mean there isn’t also a story reason for it, especially considering the relevance of 02′s themes in Kizuna’s narrative, and the surrounding circumstances regarding both series.

Before we get into anything else, the first thing that needs to be established is that Menoa and Eosmon’s lure is pretty obviously depicted as working on a subconscious level. This is why everyone else in the narrative agrees that what they did is “kidnapping”, despite her insistence that she’s just doing what they wanted. While they can’t not admit to having moments of weakness, nevertheless, it’s likely that most if not all of the people Menoa kidnapped consciously knew better and had learned better lessons than this a long time ago; if Menoa had consciously offered Neverland to her victims, most of them would have probably said no! But as Daisuke said back in 02 episode 49 -- when he witnessed his own friends being subjected to something similar at the hands of BelialVamdemon -- there’s no sin in having feelings of worries or troubles (and, by extension, irrational feelings in general), and Eosmon’s abilities and Neverland happen to be able to directly target them. In fact, we ourselves got to witness this internal conflict when Menoa made her direct offer to Taichi and Yamato to join Neverland; they briefly considered it because of the circumstances, but were snapped out of it quickly with Agumon and Gabumon’s intervention, and were really, really mad at themselves for considering it shortly after.

We saw the process of how Ayaka became one of the kidnapping victims at the beginning of the movie -- it happened right after she complained that she wasn’t fond of the idea of becoming an adult at this point. So it does lend some truth to the idea that Menoa’s working off something with these cases, and that Eosmon did specifically target people who had those wishes to some degree. Moreover, note carefully how this kidnapping (and some others in the movie) is portrayed; Eosmon doesn’t actually emerge from the device in question (it’s obvious that nobody notices the giant butterfly monster), and the victim’s consciousness and partner are whisked away thanks to being caught by the device camera. In Ayaka’s case, because her phone was sitting on the table, pointed at her. The fact that this is not how the kidnappings are portrayed all the way to the end of the movie is a very significant point.

So let’s talk about Neverland and its construction. The whole thing is based on Menoa’s own very, very warped view of what “happiness” is. This means that Neverland is only an “ideal world” or “utopia” in a way that makes sense to her -- and once you learn the full extent of her backstory, it becomes apparent how she came to the mentality she did, and, more pertinently, how she ended up projecting that on everyone else. Hence, how she came to decide that she knew better and should decide for everyone, because she thinks she gets the right to decide on everyone’s happiness based on her own experiences. (She doesn’t.)

The way Neverland is constructed is that everyone has “their own places” -- their own individual islands that recreate “memories” of everyone being able to be together with their partner, forever. So in other words, it’s not just that everyone’s being turned into children; it’s that they’re being kept in an eternal loop of their best memory and unable to “move forward”.

Here are three very significant parts about this, which will be important to keep in mind as we go deeper into this analysis:

Menoa’s view of this utopia requires people to be separated -- for all she claims this is a utopia where people can play together, she discourages fraternizing and encourages everyone to stay only with their own partners. This is, presumably, to lessen complications with said memories, because what might be one person’s best memory might not be for another, and also because she thinks one person being alone with their partner is happiness enough in itself. As we’ll be seeing later, this is very much not the case for everyone.

A lot of these memories in Neverland -- and Menoa’s own mentality, as we eventually find out -- are heavily dependent on the concept of rose-colored nostalgia, or, that is to say, conveniently omitting or forgetting about all of the bad things about one’s past in order to portray it as such a wonderful thing that nobody should ever move on from. And in the end, that probably applies to real-life childhood in general, too; as much as it’s so often put on a pedestal for being a time when “everything was simpler”, you can also easily argue that it wasn’t actually all sunshine and roses, it’s just that the process of forgetting things or the grass-is-greener phenomenon makes you conveniently forget all of the bad things and frustration that came with it too.

Because the concept of needing to stay in the past forever is based on the idea that it’s preferable to growing up, these memories thus have a strong premise of “things you cannot do anymore” -- something that, bar going back to the past and never moving from it, you will never get back or be able to sufficiently recreate. It’s unlikely the islands themselves are one-to-one recreating their specific memories in the way they happened, but rather seemingly presenting them the opportunity to “constantly do over” things they want to recreate or do again, as long as those things are associated with a happy thing that isn’t as easily accessible anymore.

In the case of the five Adventure group members who were brought into Neverland, these “memories” that they’re seen trapped in are, of course, from Digimon Adventure.

It is of course foolhardy to pretend that the main reason for this wasn’t meta, since, of course, there’s a huge point to be made here about the relationship between Adventure and nostalgia, plus the simple fact that this is what we’re most likely to recognize and be nostalgic for, but it also makes sense within the context of the narrative; Menoa has an extreme bias towards the happiness of her childhood revolving almost entirely around her partner, and, of course, Adventure was when these kids first had their most formative meetings with said partners. (This is also probably the in-story explanation for why the other international Chosen from 02 appear at or close to their 02 selves; beyond the meta reason of it being a way to make them recognizable when we only knew them for such a short time, it also approximates when they met their own partners.)

On top of that, Adventure was not all sunshine and roses for its cast! After all, there was a ton of drama and emotional trauma and stress from running away from enemies trying to kill them, or trying to save the universe, and glossing over that is also foolhardy -- but this is also where our concept of “rose-colored” comes in. Menoa’s not offering the kids the entire adventure; she’s offering them a small slice of the moments when they were able to be happy, the moments that made them want to stay in the Digital World for a whole 110 years’ worth of time at the end of Adventure -- she’s basically offering them that very thing they wanted and had ripped away from them at the end of Adventure when the time dilation phenomenon stopped. Take out all of the bad stuff, and suddenly, the events of Adventure seem outright romantic -- it’s the whole school of thought that fueled Adventure’s inspirations of Two Years’ Vacation and Stand By Me, in which a lot of stressful stuff happened and yet you still can’t help but think there was something magical and romantic about it. (I cannot emphasize enough how much of a cultural impact Stand By Me in particular had in Japan, to the point where it’s considered the epitome example of a “coming of age story” and “summer adventure”.)

Let’s take a closer look at what’s on each of the Adventure kids’ personal islands:

Hikari is probably the one in the most unusual position among this group, since she didn’t join until over the halfway point, and the first arc she got involved in revolved around everyone wanting her and Tailmon dead. Thus, the memory we get to see her involved in is the Numemon factory in Adventure episode 49. Although this was in the middle of the Dark Masters arc (and, uniquely, very close to the end of the series where a lot of stress was involved), due to the limited amount of time she got to be in the Digital World, this was the one time she got to do something really cool and awesome and impressive for herself that had nothing to do with the others (again: see how the requirements for these islands require not fraternizing with friends and being isolated).

One thing that the Adventure kids got to do that wasn’t in play in 02 was that there were a lot of “romantic experiences”, involving strange adventures and things like phone boxes on the beach, and, very significantly, “Digimon friends” -- ones that the kids made a huge note of bonding with over the course of the series. This contributes to a certain sense of whimsy that was involved in this adventure that the 02 quartet ultimately never ended up getting to foster, because the lack of the time dilation phenomenon meant that they spent much less time in the Digital World overall (more on this in a bit), and once the time dilation stopped, it meant that these kinds of “whimsical” experiences were ones the Adventure group was permanently torn away from once that adventure ended. That dropping of the time dilation phenomenon not only cut that initial adventure short, it also prevented any future ones like it from ever happening again.

And, of course, this is an extremely rose-colored memory, because shortly afterwards, the Numemon ended up all sacrificing themselves for Hikari. But hey, when you’re in a space that can eternally loop good memories forever, everything’s fine as long as we conveniently never get to that part, right?

From this point on, you’ll notice that all of the memories that show up on these islands are from before the halfway point of the series, because after that, things started getting increasingly pear-shaped and much more difficult to disentangle the stress, mental breakdowns, and witnessing of deaths from. (Hikari’s probably wouldn’t have come from such a late incident if she hadn’t joined the party so late.) Although there still were looming threats around the horizon in the beginning of Adventure, they weren’t always immediately apparent to the kids at every turn, and in fact, the beginning of the series involved more of a “well, we’re in this situation and probably need to get home somehow” aura than it did a “the world is in danger and all of us might die” aura. (It’s also in direct contrast to the 02 group, who were given the details of the crisis and what they needed to do roughly from the get-go.) So in other words, if you want to have some rose-colored nostalgia about the romanticism of this adventure, these are some of the best episodes to pull from.

Takeru’s is obviously from the Village of Beginnings, corresponding to Adventure episode 12, when he and Patamon got to have a fun romp through the village, play together, meet Elecmon, and learn about how Digimon are born. It’s also very much something he did without the others, only with Patamon, and had a lot of “fun and happiness” associated with (later solo episodes with Takeru had a lot more upsetting events more intrinsically tied with it), and, again, it’s extremely rose-colored -- it wasn’t even a day later when Angemon died in front of Takeru’s eyes. But hey, that’s even more reason to pick a moment from before then to stay in forever! Can’t have trauma if that trauma never happens, right?

Also, note that Takeru is one of the few here who’s confirmed to be aware of the partnership dissolution issue at this point, and, unlike Koushirou, isn’t confirmed to have accepted a forward-thinking mentality about it yet -- this is a very, very prime time for his fears of being separated from Patamon again to have a nasty relapse.

Mimi’s is the closest to the midpoint of the series, from the affair with the Geckomon and Otamamon castle (from Adventure episode 25; the metal railings here resemble the stage railings from that episode). It’s from the period of time that was a “lull” -- when nobody actually knew about the encroaching threat of Vamdemon quite yet, and for all it was worth, there was no longer any danger. So Mimi got to live happily in the comfort of the castle and play around with the Geckomon and Otamamon...which, of course, also conveniently excludes the affair where she went on a power trip, made everyone miserable due to her selfishness, and immediately felt guilt over it.

Mimi’s associations with this incident are not entirely negative; she was clearly still having fun singing for them in the end (note how her clothing during that scene involved her regular outfit, which she has on here), and she still had a positive impression of her relationship with the Geckomon and Otamamon as per Adventure episode 47 and 02 episode 6 (and as per 02 episode 15, even though everyone’s initial encounter with TonosamaGeckomon ended badly, nobody actually has any lingering grudge against him). So if you filter out that whole affair with the power trip and the resulting embarrassment, it was a meeting with a bunch of fun Digimon friends, a romantic little castle, and a fun stage session where Mimi got to sing.

Jou’s refers to the Infinity Mountain incident in Adventure episode 7, and even from the get-go you can already see the level of rose-coloredness in Jou’s gesture -- in the actual incident depicted, Jou went to the mountain out of a sense of obligation and stress, and the initial climbing involved him having a bit of a bickering moment with Gomamon. But once they did get up there, it was actually their first time the two of them got to really “bond” -- and not only that, their encounter with Unimon had Jou even look on it with fascination, before the Dark Gear had ever come into play.

So in the end, Jou really would have found the incident enjoyable and worthwhile if not for that, and from there you can understand why it would be appealing for him to revisit that setting and finally get to have a bit of calm fun with Gomamon there -- especially since, again, the Neverland islands have a very strong preference for isolating the kids from others, and this was one of the few times Jou got to have a major moment of calm like this alone with Gomamon, with a slight reprieve from the constant feeling of stress and duty.

Koushirou’s most prominently resembles the “sealed room” in the factory in Adventure episode 5, and while Koushirou certainly continued to make a large number of exciting discoveries after that, this was the situation where Koushirou, with no one else but Tentomon to worry about in the immediate vicinity, got to have the largest sensation of “novelty” -- where he first came upon the fascinating discovery of data manipulating reality around him, and he actually got to see the world change around him by wiping things off a wall.

And, of course, there were other things going on like Tentomon confronting him with his first existential crisis, and how things quickly went south with Andromon...but we don’t have to remember that part for now, right?

An interesting thing about Koushirou: the circumstances of how he was “kidnapped” in the first place are actually somewhat obscured compared to the other four in this scene, since Menoa presumably needed him conscious in order to get his list out of him, resulting in his kidnapping scene also involving an emerging Eosmon and not having him be instantly taken the way we see Takeru and Hikari (more on this in the section below). It’s thus unclear whether he’d be in their boat had his position in Menoa’s plan not been unusual -- said memories in Neverland involved “gathering information and learning more”, something he still actively involved himself with even after the events of Adventure, and he’s also the first one to reach a forward-thinking mentality about the partnership dissolution phenomenon. Either way, once he was already dragged into Neverland, it’s natural that the place could find a good memory for him in the same way it did for the other kids who were “manually” dragged in, but the actual method of entry and whether Koushirou's post-Adventure life put him in a mindset similar to that of the 02 quartet (again, see below) is a bit ambiguous.

So here’s an interesting part about how the 02 quartet gets involved in this story: their own encounters with Eosmon happen during a part where the method of kidnapping has abruptly changed. As many have pointed out, this is also when the degree of the targets Menoa wanted had also suddenly escalated, because while her previous claims had involved the idea of kidnapping like-minded adults (who, indeed, were entertaining thoughts of nostalgia to even some degree), she was now kidnapping actual children, ones who weren’t even nearly at the point of the supposed drudgery of adulthood that Menoa claimed they would eventually have, and with her arrogantly deciding she knew better for all of them. The part that becomes particularly intriguing about this is that the exact same thing happens with Miyako -- she is explicitly stated to have connected her laptop to the Internet, resulting in an Eosmon physically emerging and chasing her instead of instantaneously snatching away her consciousness through a camera like her own fellow 02 group members Takeru and Hikari.

So in other words, the 02 quartet’s favorable position in this incident doesn’t just have to do with being lucky enough to have gotten Koushirou’s warning about the Eosmon early; they (or at least Miyako) also seem to have a certain degree of outright immunity to it, much like the young children who aren’t old enough to have nostalgia yet. (Also, keep in mind that Takeru was caught thanks to a security camera; “excess caution with electronic devices” alone wouldn’t necessarily have guaranteed their safety.)

Recalling that, for the most part, Takeru and Hikari are usually treated more like 02 group members in the context of this narrative yet are, in this one case, treated as being potentially nostalgia-prone, it stands to reason that the main difference between the two of them and their fellow members in the 02 group is the fact that Takeru and Hikari went on the adventure in 1999, and the quartet did not. So in other words, the reason the 02 quartet isn’t as prone to this is not so much that they’re fundamentally different-minded people, as much as they have a distinct lack of an experience they can be attached to the way the Adventure group is to their own 1999 adventure. (Remember that Menoa’s kidnappings work heavily on subconscious feelings; you can’t blame anyone for having these kinds of feelings no matter how much they’ve consciously learned.)

As I said earlier, it’s foolhardy to pretend that Adventure was all sunshine and roses, and, likewise, it’s also foolhardy to pretend that 02 was nothing but suffering for everyone involved. Both series involved a lot of balancing of funny, silly moments to be treasured as much as they involved stress (which is why people are so attached to both, after all). So the question is not so much how happy they were in their childhoods as much as the nature of what that happiness came from, and what relation it has to their current lives. And when you look at what experiences the 02 quartet had back in 02, you might notice a thread of the fact that it is significantly harder to romanticize the events of 02 than it is Adventure.

Let’s put it this way: Let’s say that the 02 quartet was kidnapped into Neverland and placed onto islands that fit Menoa’s view of happiness. What, exactly, would you pick from 02 itself that would work? What kind of “happiness” did they have back then that’s so romantic, so impossible to replicate now, that they’d want to go back to because it’s better than their lives now once you disentangle all of the bad stuff?

...Not much. Not much at all, actually. Hanging out in the computer room together? Doesn’t seem like they cared that much about the computer room part as much as the fact the others were there bantering with them (which would put a huge nail in Menoa’s islands mandating isolationism). Going out on a picnic together? No reason they can’t just go on another picnic again (and if the BD box is to be believed, that’s exactly what they did, and they even added Ken to it while they were at it). Hanging out with their Digimon in real life and doing silly hijinks? They’re...probably still doing that now, actually. Getting to find true happiness at a Christmas party? That’s a party from the real world (again, something they most certainly continued to do thereafter), one where the happiness came not from the romanticism of anything that happened to do with some adventure, but just the happiness of being surrounded by true friends, which, again, Ken is still clearly getting to do by the time of Kizuna.

Once you look at the circumstances of what the “adventure” of 02 was to the 02 group, you may realize that it doesn’t really resemble the traditional romantic image of an “adventure” much at all. Sure, they were blessed with being able to regularly go back and forth between the Digital World from the get-go, but it meant that -- especially without the time dilation in play -- the Digital World became much less of a picturesque area associated with a one-time memorable adventure as much as something they had to squeeze in their after-hours while juggling it with their school. The circumstances they encountered their Digimon and the Digital World in were at a point where it had a certain level of “mundane” to them, compared to their seniors; it wasn’t a “fantasy adventure in the Digital World” when so much of the story also revolved around real-world events as well, and you can’t really find many “mysterious fantasy” events in 02 that resemble much of those in Adventure. The closest might be...Daisuke seeing Numemon pile out of a vending machine in 02 episode 1? (Not very romantic.) Daisuke getting chased around by a Tortomon in 02 episode 22? (Really not very romantic.) Iori getting to tour the ocean with Submarimon? (Implied to more about relief from how much he was holding himself back than the uniqueness of the experience in itself.) Ken’s long-time-ago flashback from 02 episode 23 about meeting Wormmon for the first time? (Defeating a Gazimon is hardly that impressive; the important part was him bonding with Wormmon, which he’s...uh...still doing now?)

There weren’t any lasting relationships with Digimon friends like the ones in Adventure, maybe encountering some civilians once and not seeing them much again after that, especially since the lack of time dilation meant not getting to spend as much time visiting them much at all (think about all of the really fun experiences that the Adventure group probably had that weren’t shown in the actual Adventure TV series, just because it probably didn’t have enough drama that would make a good TV episode plot). This means that there’s very little, if at all, of 02 that represents something this group would want so badly to recreate that they can’t already do now; everything from back then was either something comparatively mundane, or something they actually would not want back. Unlike with Adventure, where a lot of the kids had irreplaceable moments that only happened to be spoiled a bit later, a lot of the “really awesome accomplishments” from the first half of 02 were explicitly against Ken, someone whom they’d probably rather not dwell on fighting again because of how much they love him now; many of those good memories are “retroactively poisoned” because of that, and it’s much, much more difficult to make a rose-colored version of those memories disentangled from the bad, because of how fundamentally intrinsic that retroactive poisoning becomes.

And, when you think about it, the mandate of “you have to be alone on your own island” would pretty much break these four in particular, especially since the 02 group is portrayed as the type to need mutual support more than anything else, and so many of the events that represent “happiness” specifically involved the happiness of each other being present. It’s not to say that the 02 quartet had no moments of happiness when alone with their partners, but, rather, being with each other provided so much more fulfillment to them that Menoa’s offer of a memory of their past that requires them to be alone probably pales in comparison to anything they could do now in each other’s presence. Maybe, like with the other kids depicted in these scenes, they could be buttered up with something nice if you successfully got them into Neverland, but it’s not like they have any real wistfulness about anything from back then to the point that they’d be subconsciously drawn towards it instead of having to be dragged in kicking and screaming -- and especially in the case of Miyako, the same one who managed to evade an Eosmon here, who was offered a similar “chance to be alone” back in 02 episode 49 and didn’t take very long to decide she hated it because of how much of her happiness comes from getting to be with others.

By the time of the end of Adventure, the Adventure kids’ ideal situation was to have a romantic and fun 110-year adventure with the sights and fun of the Digital World, with all of the weird fantasy surrealism and less of the world-saving, and that’s something they never got to have (and that Menoa was inherently offering them). By the time of the end of 02, the 02 quartet’s ideal situation was...to find a way to get back to normal life and hope their friend feels a little better, and that “ideal situation” is still persisting even into the time of Kizuna, so it’s hard to imagine they really want more than that.

And, again, when you extrapolate this into what Kizuna’s trying to say about real life, adulthood, and nostalgia: it is true that Menoa’s projecting a belief that absolutely does not apply to everyone. While it’s true that many people feel that childhood had a certain kind of magic that you can’t get back in adulthood, there are possibly just as many people who aren’t really all that nostalgic to begin with, either due to trauma or something about their childhoods being miserable, or, even in the lack of such miserable events, simply enjoying the added freedom and expanded range of ability that comes with adulthood to the point they consider it to be more than worth the tradeoff. The 02 group basically represents this crowd -- Ken’s life right now beats out his past in pretty much nearly every respect, and while there are certain concerns about not being able to meet up as often, they’re finding the same ways to do the same kinds of over-the-top hijinks they did back in 02, with arguably even more range now that they get to exploit Digital Gates to do world travel and act without worrying about their parents. They’re basically like the adults who see Menoa’s creed of “childhood is better because adulthood sucks” and go “sorry, can’t relate.”

That said, remember: this isn’t because the 02 quartet is somehow mentally stronger or anything, but rather just a byproduct of what experiences they've had and haven’t had. Takeru and Hikari’s position is unique here -- for all intents and purposes their mentalities are portrayed as closer to the 02 group’s, but they did still have the experience their seniors had and are thus still capable of being close to their position in this one regard. In the end, everyone is different, it’s no sin to have feelings based on those differences, and “being able to relate” to one’s position is also an important key here; because the 02 group’s position is so alien to Menoa’s, it’s unlikely they could have tackled her problems nearly as intimately as their seniors could.

What we learn about Menoa’s backstory establishes that she forced her vision of nostalgic happiness on everyone based on her own perception of her past in such a warped, rose-colored manner. She conveniently omitted or forgot about details such as the fact that her life as a “child” involved feeling ostracized from everyone and that she herself was guilty of neglecting Morphomon. Not only that, she herself claims that she’s the only one who knows what this feels like -- that nobody relates to her -- and thus, you can see that she came to her conclusion that her experiences are universal by the power of sheer extrapolation, hence why she thinks everyone inevitably loses their partner upon reaching adulthood despite pretty significant amounts of evidence to the contrary. (For all it’s worth, the fact that she still considers herself as having “become an adult” at 14 just because she got into university at that time is pretty conceited.)

Menoa’s existence as being so starkly in contrast to the 02 quartet’s is very likely because her entire character was built up from the ground that way -- her entire backstory of skipping grades into university is heavily based on 02′s initial development premise and Ken’s own backstory, meaning she explicitly represents the path that Ken and the other 02 kids chose not to take, and the timing of certain events in her backstory seems almost deliberately engineered to prevent her from witnessing some of 02′s important answers to Kizuna’s conflict, most notably her inability to witness the final battle and the important lessons everyone present learned about following one’s dreams without restraint, and how that relates to one’s partner. Menoa’s mindset is basically that level of incompatible with 02′s themes of “moving on from the past” and “not caving to arbitrary societal expectations”, to the point her character could only get to this point by going out of the way to exclude her from 02′s story and events, because she’s fundamentally built as a character who started off on a very similar path as them (getting to integrate her Digimon partner into normal life, having a similar backstory to Ken) before veering off on a very different one.

Moreover, about that backstory, and the reason why 02 was conceived as such a criticism of the concept of “skipping grades into university”: the concern that someone in this position will be kept from making any friends their age. Menoa puts the moment of “being with one’s partner” on such a pedestal and considers herself to be “the only one who knows what this feels like” partially because she has a fundamentally warped view of friendship itself. Even the Adventure group, which may not have had quite the absurdly tight level of bonding the 02 group had, still broke out of the illusion via Taichi and Yamato reaching out to them, and Taichi and Yamato giving each other mutual support helped them make the decisions they did in the movie. The movie is titled “bonds”, and “bonds” doesn’t just refer to those between human and Digimon partner, but also bonds between each other; Taichi, Yamato, and Sora slowly drifting away from the others at the start of the movie has very strong relevance to their respective existential crises, and the role that Taichi and Yamato play in supporting each other, and Mimi’s in supporting Sora in To Sora and even beyond that, say a lot as to how they’re already expected to be much better off than Menoa was.

It’s not that adulthood is inherent drudgery; it’s that Menoa’s own circumstances really are that warped to the point where she sees her very unusual experiences as fundamentally synonymous with how life is supposed to work in general. She was so obsessed with “being independent”, “being useful to the world”, and “being on her own” that she had no mentality of making friends or connecting to others besides her own partner, and once her partner disappeared, she seemed to make no attempt to rectify that. So of course her life in university following that ended up being not nearly as fulfilling as she’d hoped, since she was getting no real emotional support from anywhere, and, as 02 itself also drove home, apparent “approval from society” only ever makes you as “happy” as a Dark Seed-implanted child if you’re not also being supported by your loved ones in the process. Her adulthood sucked, and she decided that everything about her rose-colored childhood meant that childhood is fundamentally superior in every way, and thus decided that keeping everyone else in it would be “saving” them from the terror it involves -- even though (even if they’re not aware of the specifics of everything) the 02 quartet is not the kind to be able to relate to this at all, and, eventually, Taichi and Yamato, who do understand her position a bit better due to their own experiences, are able to get her to reconsider a little.

#digimon #digimon adventure #digimon adventure 02 #digimon adventure last evolution kizuna #kizuna spoilers #shihameta

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bubmyg · 3 years ago

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there was no particular reason i wrote all this down other than reading the translations to my universe made me cry last week because i’m just Like this. this is a mini compilation of yoongi lyrics that i hold gently in my palm and close to my heart in a he’s my artist for life kind of way. these aren’t all my favorite yoongi lyrics, i certainly have more but not ones that fit this general vibe.

this is like extremely disorganized, i kind of just wrote it like a journal (and i’ll probably copy it to my bullet journal at some point actually). interpretations are my own, music is cool in that we can all read and hear the same thing and get different things out of it (which is why yoongi has often said he doesn’t attach specific meaning to things, giving it up to the listener instead)

so yeah. here’s me being fond of yoongi in 4k for no reason other than. idk. i wanted to. all translations are from doyoubangtan and doolsetbangtan.

song request - lee sora ft suga

“I’ll be with you, for your birth and your end; That you’d remember that I’m with you, wherever you are; I’ll be a comfort for your life at any time, and so; please, that you’d lean on me and take a rest, every once in awhile.”

to me, this perfectly encapsulates what creating music is for yoongi in a two-fold kind of way. not only does he want his music to be a source of comfort for those who listen to it (just as the art of music is for himself), he’s also consistent in his assurance that taking a rest is okay. not being okay is okay. simply existing for the time being is okay. it’s a gentle empathy that comes from the experienced heart of someone who’s not going to tell you that it is okay, but will tell you that it won’t always be like this. friendly little moon trying to get you to smile with him on sleepless nights.

so far away - agust d ft suran

dream, will eventually be in full bloom at the end of hardships

this was on my undergrad graduation cap. it’s one of my favorite lyrics of all time. if so far away is my heart song, this is my heart lyric. this is a common motif in yoongi’s lyrics; dormancy is only temporary, you will bloom at the end of the cold winter.

dream, hope it to be there with you at your creation and at the end of your life

creation to end is another common motif n his lyrics. in this specific context, i imagine it to most closely be analogous to holding dreams close to you your entire life. dreams are dreams no matter how they manifest, even if they’re simply something you long for until your “end”.

Hope it to be there with you at your creation and at the end of your life; It will be generous to you wherever you stand; It will eventually be in full bloom at the end of hardships; The beginnings will seem humble, so prosperous will the future be

the entirety of this song reads like a story and this last refrain reads like the conclusion (kind of). the slight wording change from the previous choruses means a lot in that regard, more definite and firm. you will be okay. maybe not now, maybe not next week. but you will be.

suga’s interlude - halsey ft suga

Though the dawn before sunrise is darkest; don’t forget the stars you longed for only rise in the darkness

just a really pretty but heart wrenching lyric in the context of the entire song. he’s also used this metaphor several times. i love me a good string of consistency with minor adaptations to fit the vibe. this song also made me cry the first time i read the translations lmao.

my universe - coldplay ft bts

Because the trial we face now is just for a moment anyway; All you have to do is to just keep shining bright like now; And we will follow you, embroidering this long night

this could mean so many things depending on how you wanted to contextualize it. of course the song is about love, so you could view it in that way. we’re in the midst of a global pandemic where we can’t see each other. or maybe it’s simply existence. continue to exist and one day your bright light will be followed even in the darkest of nights.

also the og title of telepathy being 잠시 (for a moment) is so...min yoongi you are so cool

people - agust d

Did someone say humans are the animals of wisdom?; The way I see it, humans are the animals of regret

Your ordinaries are my extraordinaries; Your extraordinaries are my ordinaries; Your ordinaries are my extraordinaries; Your extraordinaries are my ordinaries

super simple to understand which i think makes it more poignant. especially if you contextualize it with everything he’s said or written regarding the plight of fame and how he himself grapples with it as min yoongi.

28 - agust d ft niihwa

just this whole song. if song request encapsulates yoongi’s musical ethos, this captures a lot of his general musings.

paradise - bts

Just living like this, surviving like this, that’s my small dream; Dreaming dreams, grasping dreams, breathing breaths, it’s often too much

a more blunt take on the simply existing is a good enough dream. yoongi’s 2018 new years message was one of the things that made me go “yes. Him™” so paradise is very <3 for me

interlude: shadow - bts

Flying high scares me; I mean, nobody had told me; how lonely it is here –;how my leap could be my fall

another thing he uses frequently, even as recently as an interview regarding permission to dance. the contemplation of how a fall is far scarier than landing because getting back up is uncertain.

Yeah, I’m you and you’re me, do you finally get that now?; Yeah, you’re me and I’m you, do you finally get that now?

the entirety of this song is haunting particularly paired with the sampling and the music video as a visual but this part is just...the whole idea of competing internal voices throughout the narrative of the song or if you’d rather truly treat the lyrics like a piece of literature, you have quite the unreliable narrator, one that’s trying to grapple with his own sense of self.

140503 at dawn - agust d

Pretending that I’m not lonely, pretending that I’m not suffering; needlessly pretending that I’m okay, and pretending hard that I’m strong; I built a wall in front of me, “Don’t come inside”; I’m an island in this wide ocean, “Don’t abandon me”

the entirety of agust d just makes me ache but i mainly pulled this part because he uses the island metaphor consistently. here, it’s used like i said before; achingly.

this song also gets overlooked a lot in the larger context of agust d but anyway

eight - IU ft suga

Island, yeah this is an island; a small island that we made for each other; Yeah, mm, forever young, the word ‘forever’ is a sandcastle; A farewell is just like an emergency text warning of a disaster; A morning met together with yearning; As each of us pass this eternity, we’re sure to meet again on this island

can i be honest and say i forgot this song came out at the beginning of the pandemic. anyway, if you haven’t heard the various times that jieun has spoke about this song and it’s conveyance, i encourage you to. the music video also gives a beautiful visual.

i wrote a small analysis of this when it came out so i’ll just put it here

burn it - agust d ft max

I hope you don’t forget that giving up decisively also counts as courage

of course this can absolutely be taken at a literal meaning especially considering he said a similar iteration of this to someone on kkul fm BUT i also like looking at it in context of the entire song because maybe this is him trying to convince himself too, especially considering the wording of the last chorus doesn’t change it so it implies in order to get past the fire u need to let it burn first? burn it = giving up on some aspect of pain?

i see why max didn’t shut up for eight months about making this song i wouldn’t either hello

outro: tear - bts

im including this one firstly because i love the song but secondly to say i knew the second u all were surprised by yoongi saying he wrote this as essentially a break up song for bts and they all cried while listening to it that y’all don’t actually read or interact w their lyrics fjdklafjsd

just bc it’s a rap song doesn’t mean it’s a diss or a flex. weirdos.

intro: never mind - bts

I hope you forget about all your mistakes and such; Never mind; It’s not easy, but engrave this in your heart; If you think you’re going to crash, accelerate more, you idiot; Never mind, never mind; Whatever thorny path it may be, go run; Never mind, never mind; There are a lot of things that you can’t control

the entire composition of nevermind is similar to first love and shadow to me where you can just hear the emotion in his voice while performing it

this is also another general idea that he mentions a few different times through different songs which as we’ve seen i am <3 for

intro: the most beautiful moment in life - bts

once again i don’t have a specific lyric to pull i just love this song so much and i feel like it isn’t talked about enough because first of all the use of the basketball throughout the instrumental, the incorporation of the origin of his stage name into an entire song regarding his general existence as a performer and coming into the beginnings of sizeable fame, and just his general way of essentially writing one giant ode to something he loves and analogizing it to something else he loves to talk through internal struggles.

aka im once again saying min yoongi you’re so cool

first love - bts

same line of awe from above this whole song is just a story, a poem, a journal entry, a beautiful confession, i don’t know. this is yoongi’s best bts solo u can argue with a wall about it also if you were able to see this live i hope u have a terrible week (im joking)

every fancam i’ve ever seen of this makes me cry. so. do with that what you will in regards to how i feel about this song.

#i have no reason for posting this so im not gonna tag it with anything other than so i can find it again for myself JFEKWFJS #ffr #my writing #i just realized only one of these is from an ot7 song help #there are so many others. tomorrow. autumn leaves. mikrokosmos. black swan........

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hellacioushag · 4 years ago

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tw: abuse/sexual assault

the hypocrisy of people using faux outrage about others drawing parallels between tamlin and azriel’s stories when they didn’t bat an eye about someone drawing similarities between a rapist and a sexual assault survivor to justify their shipping needs is astounding. if you read the post no one was saying tamlin and azriel are the same. i’m gonna detail my own thoughts on why these two mirror each others narrative, but with key differences.

abusive childhoods:

i feel like people forget that both tamlin and azriel were victims of an abusive household. the key difference is azriel’s history has made him want to defend those who cannot defend themselves/punish those who are the perpetrators of violence while tamlin gave into his anger and violence at the world. it’s a classic tale of being an abuse victim. you either grow up to separate yourself from your past and do better than your parents or you become just like them.

tamlin’s brothers would have murdered him as a babe in his bassinet if they suspected he had potential or desire for the high lord position. we also know tamlin’s father held slaves and was aligned with others who shared his view of the world in the war. pair these bits together and we can assume tamlin’s father was a more aggressive and violent father than even beron is. tamlin grew up in a home where he did not feel safe. and when his father tasked tamlin with finding out his enemy’s secrets tamlin obliged.

he was present and possibly participated in the butcher and murder of rhys’ family. this was a significant moment for tamlin’s turn into becoming an abuser like his father. he could have lied, he could have denied knowing the information about rhys’ mother and sister, but instead he gave that information over to his father knowing he was signing a death warrant. some could argue that he may have done this because of his own father’s abusive tendencies toward him, but this was the moment imo that tamlin went from a victim to a predator.

as for azriel we all know the abuse he suffered by his family. how his brothers tortured him and tried to have him killed. how he was denied any affection or love growing up and was taught that his existence was a stain on his family’s reputation. azriel could have easily turned into an abuser himself the way tamlin did, but being dumped into the illyrian camps and finding cassian and rhys saved him from that fate. his brotherhood with them was the turning point for azriel to no longer be a victim, but a survivor.

anger issues:

you can’t deny that both tamlin and azriel suffer with anger and control issues. it’s clear in the text they both have a barely contained, deep-seated anger that could be deathly when let loose. the key difference is tamlin has no one to reign him in, no one of his equal to calm that rage. azriel has this support system and has been shown to have utilized it when needed. i’m not going to go into a full analysis on all the examples, but I will point out the main ones I think we all know.

tamlin’s explosive anger was shown when he blew apart the library when feyre and he disagreed about her safety measures in acomaf. he could have easily hurt her had she not had magic to protect her (as seen when this same moment was repeated in acowar). tamlin let his rage and helplessness consume his every thought about protecting the person he loved and instead became the very threat he sought to protect her from. he let his paranoia about her being in danger prevent him from listening to her needs and locked her in a cage. this in itself was abusive, there’s no arguing this point. the part to note is that he as a high lord had no one of equal measure to talk him down, to help him see reason. when lucien tried to step in he was dismissed and abused himself. when feyre tried to speak up on her own behalf tamlin refused to listen and as high lord his word/wants/needs were law in his lands. he had no one who could provide a healthy perspective and so left unchecked he continued his abusive behavior.

azriel’s cold, lethal anger was shown when he exploded at the meeting with the high lords in acowar and attacked eris for a slight against mor. he was inches from letting the rage take hold of him and ending eris’s life. feyre, his high lady and friend, was able to calm him down and make him see reason. azriel is a trained spy and torture master, he’s supposed to be able to keep a cool head in high stressed situations, to act unemotionally to get his job done. however reliving the trauma of seeing a broken mor and imagining eris leaving her there consumed him with rage he could no longer contain. i’m not here to justify his actions. mor’s own trauma of seeing azriel fly off the deep end is enough for me to condemn his behavior. i am however pointing out that i think his reaction was not just about mor, but about reliving his own helplessness and loss of control and letting it consume him into a lethal rage.

the key difference with tamlin and azriel’s moments of all consuming rage is that azriel had someone to talk him down and let him see reason. tamlin refused the help of his own support system (lucien/feyre) and instead gave into his abusive and volatile tendencies. azriel could have easily done that same, but because of his brotherhood and friendships he has people to pull him back from the edge.

desire for love and acceptance:

both tamlin and azriel (and all characters in this series tbh) have a strong desire to love and be loved in return. the problem is when that desire for love becomes an obsession and entitlement. it becomes harmful when you think you’re owed something.

tamlin let his desire for feyre become obsessive. he had his soldiers hunt her down to drag her back to his home. he refused to accept that she was happy and healing away from him because he was in despair without her. he couldn’t fathom that she could be finding peace when he was being torn apart. he allied himself with monsters because he convinced himself that his love for feyre was the stuff of legend and that he was acting in a heroic manner. and even when he found out that she had a mate, something that is considered a sacred bond above all things to their people, he refused to accept that the cauldron/the mother/fate could be so cruel to deny him his happily ever after. feyre was his and he would reclaim her no matter what. he would defy the mother herself for his love. the problem with this is that he did not take into account feyre’s needs. when you love someone you put their needs above your own. he didn’t care that feyre was mated, that she loved rhys, because his obsession for her and belief that she belonged to him outweighed all reason. his love for her turned toxic if you can even call it love to begin with.

azriel is a bit different, but the parallels are there. he’s not at the obsessive point yet (masturbating to pain killers notwithstanding) and he may never get there. one could argue he spent 500+ years being obsessed with mor, but his support system held him in check. that when he saw mor flirting and sleeping with others he leaned on his brothers, on cassian, to distract him and help him through the pain of knowing the person he loved didn’t love him back. and regarding elain i think whatever is between them is entirely too new to relate it to his feelings for mor, but it’s also looking to be just as unhealthy. he didn’t bat an eye about fighting lucien in a blood duel and seemed to welcome the challenge. he knows that if lucien were to die that pain could destroy elain. even if she doesn’t love lucien, has not accepted the mating bond, she and he are soulbound. if he were to die it could shatter her, but he didn’t seem to think of that consequence at all.

when he questioned the wisdom of making them mates in the first place, when he claimed “what if the cauldron was wrong?” and then rationalized his thoughts by saying 3 sisters for 3 brothers.... this is a callback to tamlin refusing to believe the cauldron would deny him love by mating feyre to rhys. questioning why he doesn’t have a mate of his own isn’t inherently bad, but implying that because his brothers found mates with 2 of 3 sisters so lucien doesn’t deserve the 3rd is. when he doesn’t talk to his brother about why he desires elain and instead talks about why fate has robbed him of a sister it stands to reason why rhys would take exception to this way of thinking. it’s bordering on toxic and i’m glad rhys was there to pull rank on azriel.

are tamlin and azriel the same?

no, didn’t you listen to anything said? they are not the same and the key difference as to why is because azriel has a support system of brothers and friends that he can rely on to keep him in check. tamlin has pushed away any form of support and has embraced his beastly abusive behavior. saying that their story parallels is not saying azriel is an abuser like tamlin. it’s pointing out why tamlin’s story is a cautionary tale for azriel’s future journey. it’s outlining that while they may share similar aspects of an abusive past, anger issues, and longing for love and affection they are not the same people at their core because of the way they deal with their trauma.

#acotar #acotar metas #acosf #azriel #tamlin #they are not the same #but they do parallel to each other #can't wait to see people say i'm a tamlin apologist #or i'm equating az and tamlin #cause people in this fandom seem to not understand how to comprehensively read

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asleepinawell · 3 years ago

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Book Recs

I was gonna do one of these at the end of the year, but I’ve somehow managed to read 26 books this year already (12 novellas, 14 novels), almost all featuring queer authors and/or characters so this is already a long list.

Note: There’s a few on here I was kind of meh about, but in most of those cases it was a ‘book might be good but it’s not for me so i’ll mention it to put it on people’s radar anyway’ type of thing. Insert the usual necessary tumblr disclaimer about all of this being only my opinion and your opinions are valid too etc etc.

In order of when I read them:

Princess Floralinda and the Forty-Flight Tower by Tamsyn Muir - Fantasy novella from the author of gideon the ninth that’s a twist on the classic princess trapped in a tower waiting for a prince story. Quite fun. (novella)

The Monster of Elendhaven by Jennifer Giesbrecht - Dark fantasy about revenge and magic. m/m couple but like I said it’s pretty dark and twisted all around so definitely not a happy queer romantic story. My opinion was interesting premise that could have been executed better and probably should have been a full novel to embellish on the world building potential. (novella)

A Memory Called Empire & A Desolation Called Peace - Arkady Martine - Probably tied with murderbot as the best things I read this year. Scifi, f/f couple, wonderfully done exploration of what it means to fall in love with a culture that is destroying your own. More of the many queer anti-imperialist books that have come out recently and certainly some of the best. The second one is a direct continuation of the first. (2 novels)

The Tyrant Baru Cormorant - Seth Dickinson - This is the third in the Baru Cormorant series (The Masquerade) and was my favorite so far. The second and third book were originally one book that got split I believe and the second book didn’t stand alone as well (though was still great), but the third book really made up for that. Dark fantasy world starring a queer woc whose country and culture is destroyed by the imperial forces of that world colonizing and assimilating them. She vows revenge and decides to work her way up within her enemy’s ranks to enact it from within and bring an empire to ruins. Really really fascinating study of so many different aspects of our own world and the systems which enable and allow bigotry and how bigoted and violent narratives are used to control minorities. This is definitely a darker series and I was particularly impressed with some of the commentary on the racism prevalent in non-intersectional feminism as depicted through a fantasy world. Can’t wait for the last one to come out! (3 novels, 1 forthcoming)

The Murderbot Diaries - Martha Wells - There’s six of them--5 novella and a novel--and the first is All Systems Red. Told from the point of view of a self-aware droid/android that is rented out by a corporation to provide protection in a dystopian capitalist hellhole future that isn’t that unlike our current capitalist dystopia but is in space. Muderbot hacked the chip that controlled it and instead of going rogue just wants to be left alone to watch its favorite tv shows. Murderbot is painfully relatable and the books are both funny and poignant. Highly recommended. (5 novellas and a novel).

Winter’s Orbit - Everina Maxwell - This was a m/m romance novel with a scifi backdrop of royal intrigue. Generally I’m more into scifi with a queer relationship in the background than vice versa, so it wasn’t my favorite, BUT I think it was still well written and someone looking for more of the romance angle would enjoy it. Has all your favorite romance tropes in it, especially the yearning. (novel)

The Divine Cities - Robert Jackson Bennett - Three book series. I’m very conflicted about this one. Set in a fantasy world where an enslaved nation overthrew the country enslaving them and now rules over them. It’s a story of what happens after the triumphant victory and within that it’s also a murder mystery tied into the dying magic of the conquered nation. It also has a six foot something naked oily viking man fist fight a cthulhu in a frozen river. The second book was by far my favorite, mostly due to the main character being brilliant. My conflict comes from the fact I don’t feel like the story treated its women and queer characters well. Like it had really great characters but it didn’t do great by them overall. That and the third book didn’t live up to the first two. But still definitely worth a read, can’t stress enough how cool some of the world building was. (3 novels)

Into the Drowning Deep - Mira Grant - This might be the only one on here I disliked. It’s got a doomed boat voyage and creepy underwater terror and monsters and a super diverse cast of characters, but I just didn’t enjoy the writing style. While having a diverse cast is great, there were a lot of moments where it felt like characters were pausing to explain things about themselves that felt like a tumblr post rather than a normal conversation you might have while actively being hunted by monsters. I also bounced off all the characters. But a lot of people seem to have liked it so if you’re into horror and want a book with a f/f main couple then maybe you’ll enjoy it. (novel)

Dead Djinn Universe - P. Djèlí Clark - Around the early 1900′s, a man in Egypt discovers a way to access another world and bring Djinn and mysterious clockwork beings called Angels through. As a result, Egypt tells the British to get fucked and Cairo becomes one of the most powerful cities in the world. So Egypt, magic, djinn, a steampunk-ish vibe, oh and the main character is a butch queer woman who enjoys wearing dapper suits and looking fabulous while she investigates supernatural events. Her girlfriend is also mysterious and badass. And she has a cat. There’s three novella (one of which technically might be considered a short story) and then the first novel. You should absolutely read the novellas first (A Dead Djinn in Cairo, The Angel of Khan el-Khalili, The Haunting of Tram Car 015). Super fun and imaginative series. (3 novellas and a novel, more forthcoming)

River of Teeth & Taste of Marrow - Sarah Gailey - From the book description

“In the early 20th Century, the United States government concocted a plan to import hippopotamuses into the marshlands of Louisiana to be bred and slaughtered as an alternative meat source. This is true. Other true things about hippos: they are savage, they are fast, and their jaws can snap a man in two. This was a terrible plan.”

Queer hippo riders!!!! Very much a western but with hippos. Main couple included a non-binary character. Loved the first one. The second one I was more meh about due to one of the characters I was supposed to like having obnoxious man pain that a woman had to take the brunt of the whole time. Also there were less hippos. But queer hippo riders! Definitely read the first one, and they’re both novellas so no reason not to read the second as well. (2 novellas)

A Psalm for the Wild-Built - Becky Chambers - I may be the only person who hasn’t read the long way to a small angry planet at this point, but I did grab her new novella and I loved it. It made me want to go sit out in the woods and feel peaceful. The world it’s set in feels like a peaceful post-apocalypse...or diverted apocalypse maybe. Humans built robots and robots gained sentience, but instead of rebelling they just up and left and went into the wilderness with a promise that the humans wouldn’t follow them.The remaining human society reshaped itself into something new and peaceful. It’s the story of a monk who leaves their habitual monking duties to go be a tea monk and then later wanders into the wilderness and becomes the first human in ages to meet a robot. Very sad there’s no fan art yet. (novella, more forthcoming)

The March North - Graydon Saunders - This was such a weird book that I’m not sure how to explain it. The prose style is hard to get used to and I suspect a lot of people will bounce off it in the first chapter. There’s no third person pronouns used at all and important events get mentioned once in passing and if you blink you’ll miss them. Set on a world where magic is extremely common to the point that rivers sometimes run with blood or fire and the local weeds are something out of a horror movie and most of the world is run by powerful sorcerer dictators, one country banded together (with the help of a few powerful sorcerers who were tired of all the bullshit) to form a free country where powerful sorcerers wouldn’t rule and the small magics of every day folks could be combined to work together. The story revolves around a Captain of the military force on the border who one day has three very powerful sorcerers sent to them by the main government with the hint that just maybe there’s about to be a big invasion (there is) with the implication of take these guys and go deal with this. The world building is extremely complex and very cool...when you can actually understand what the fuck is going on. There is also a murder sheep named Eustace who breathes fire and eats just about everything and is a Very Good Boy and belongs to the most terrifying sorcerer in the world who appears as a little old grandma with knitting. It had one of the most epic badass and wonderfully grotesque battles I’ve ever read. But yeah, it is not what I would call easy reading. Opinions may vary wildly. I did also read the second one (A Succession of Bad Days) in the series which was easier to follow and had a lot more details about the world, but overall I was more meh about it despite some cool aspects. The chapters and chapters of the extreme details of building a house that made up half the novel just weren’t my thing. (novels).

The Space Between Worlds - Micaiah Johnson - In this world parallels universes exist and we’ve discovered how to travel between them, but the catch is you can only go to worlds where the ‘you’ there is already dead. This turns into an uncomfortable look at who would be the people most likely to have died on many worlds and how things like class and race would fit into that and what we would actually use this ability for (if you guessed stealing resources and the stock market you’d be correct). The main character is a queer woc who travels between worlds with the assistance of her handler (another queer woc) who she has the hots for. She accidentally stumbles on a whole lot of mess and conspiracy and gets swept up in that. Really enjoyed it. (novel)

Witchmark - C.L. Polk - Fantasy world reminiscent of Victorian England (I think?) where a young man with magical gifts runs away from his powerful family to avoid being exploited by them. He joins the army and fights in a war and comes home to try and live a quiet life as a doctor, but a murder pulls him into a larger mystery that upturns his life. Also he’s extremely gay and there’s a prevalent m/m romance. This one was a fun-but-not-mind-blowing one for me. (novel, 2 more in the series I haven’t read)

The Priory of the Orange Tree - Samantha Shannon - This was one of those that everyone loved but I couldn’t get into for some reason. I tried twice and only got about halfway through the second time. It’s got dragons and queer ladies and fantasy world and all the things I like, but I wasn’t that invested in the main story (which included the f/f couple) and was more interested in the smaller story about a woman trying to become a dragon rider. There are few things that beat out a lady and her dragon friend story for me and that was the storyline that felt neglected and took a different turn right when we got to the part I’d been waiting for. But, I know a lot of people whose reading opinions I respect who loved it, and if you like epic fantasy with dragons and queens and treachery and pirates and queer characters then I’d say you should definitely give it a try. (novel)

Bonus: I didn’t read these series this year, but if you haven’t read them yet, you should.

Imperial Radch (Ancillary Justice) - Ann Leckie - Spaceship AI stuck in a human body out for revenge for their former captain, but that summary does not come close to doing it justice. Another one examining imperialism and also gender and race.(3 novels)

Kushiel's Legacy Series - Jacqueline Carey - This is two series, six books total, and starts with Kushiel's Dart. Alternate universe Renaissance-y Europe in a fantastical world where sex isn't shameful and sex workers are respected and prized. Lots of political intrigue and mystery. A lot of BDSM and kinky stuff too (the main character is a sexual masochist, oh and also bi!). I first read this series when I was fifteen or sixteen and it definitely made a big impression on me. Same author also wrote the Santa Olivia series which I’d also recommend. (6 novels)

The Locked Tomb (Gideon the Ninth) - Tamsyn Muir - I mean, if you follow me, you know. If you don’t follow me you still probably know. I’d have felt remiss to have left them off though. Lesbian Necormancers in Space. Memes! Skeletons! Biceps! Go read them. (2 novels, 2 forthcoming, 1 short story)

Books On My To Read List:

Fireheart Tiger - Aliette de Bodard

The Order of the Pure Moon Reflected in Water - Zen Cho

Black Sun - Rebecca Roanhorse

This Is How You Lose the TIme War - Amal El-Mohtar and Max Gladstone

Ninefox Gambit - Yoon Ha Lee

Also, if anyone has any recs for scifi/fantasy books starring queer men (not necessarily having to do with a queer relationship) and written by queer men I’d love them. There’s a lot written by women, and some of them are great, but I’d love to read a story about queer men from their own perspective.

#book recs #books #mp

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meikuree · 3 years ago

Text

the centre cannot hold

Fandom: Shingeki no Kyojin | Attack on Titan Rating: Teen And Up Audiences Relationships: Hitch Dreyse & Annie Leonhart Characters: Annie Leonhart, Hitch Dreyse, Armin Arlert (mentioned) Additional Tags: Canon Compliant, Mild Psychological Horror

ao3 link

The days blend into a seamless fugue, dreamlike and out of reach.

(Or: a look at Annie's time in the crystal.)

The days blend into a seamless fugue, dreamlike and out of reach.

She can't place what time it is, inside. Time is meaningless. The interrogators who enter complain about the cold drafts puffing through the bricks; she can't feel any of it. Only the blunt sensation of the crystal’s cover, cool as iron is cool, running over her arms and torso and head, her entire body.

Hitch visits, many times. She comes to know her by the telltale skip of her boots on the floor. The way she always leaves the door ajar, as though she hadn’t intended to stay long. Her own eyes are closed now, all the time. It means her other senses become sharper. She hears mutters even through the thick slab of wood that passes for a door, and learns the smell of autumn filtering through the bars of her cell’s sole window, carried into the space in dead leaves stuck to the soles of soldiers' boots.

Those signs are what she begins to rely on to mark the passage of time. In the initial months, it’s an inexact science. Mere guesswork, in which she misestimates, on a few occasions, the correspondence between the oil-stench of polished boots and badges and the exact military festival being celebrated outside.

She listens to the chatter of the scouts who return daily to work out the mysteries surrounding her. How she breathes, what is keeping her alive. She knows the answers herself, of course. In this state she is tapped into the Paths realm; feeding on the otherworldly largesse of Ymir Fritz somehow, her lungs sustained by oxygen piped into her chest by means metaphysical and invisible. How long do you think she’ll last in there, they ask, and she wants to bark a laugh, say: I can stay here for the rest of my life. She starts a betting pool with herself about when they will meander towards or away from the answers, and also memorises some of their names—Anya, Nicolas, Louis—as a matter of personal amusement. Hange is the one who gets closest to piecing together anything about the truth, including the concept of an afterlife and/or higher realm.

Eventually they give up on her. With the Shiganshina basement breached, Hange’s purview as commander shifts to other horizons. The room hollows out as they clear the furniture, the echo that bounces off its walls widening into a sound vast enough to fill graveyards. A looming silence. Still as death. Only Hitch continues to come by, and Annie begins to yearn mentally for the stimulation of her conversations, like a plant straining towards the sun. Towards necessary sustenance.

She reminisces about her history lessons back in the Survey Corps, sometimes. It had been fascinating to see what counted for fact and narrative in a different land. She now wonders if she's become an artefact of history herself. Dead for all intents and purposes, preserved only in textbooks. Pragmatism brings her back to earth, when she remembers that nobody has ever been memorialised for lying in a coma.

Her sensory awareness only extends so far, after all that. It is deep, but not very broad. In the first year she keeps track of worldly happenings by the generosity and latitude of Hitch’s reports. Her passionate spiels, often preceded by a long indrawn breath and groans of despair that could have rivalled Eren’s, span an impressive set of topics ranging from Eren’s whereabouts, the Survey Corps’ movements, and military gossip, to more quotidian ills that ail her: a nail chipped while filing paperwork, her anguish over a sold-out bakery on the way home. The twenty letter-long saga she has going on with a romantic rival-turned-interest-turned-rival-again. Annie becomes the unwitting beneficiary of her ability to transform all ordinary occurrences into effusive theatre.

There are a few signs. The stunning perseverance with which Hitch comes. The verve and enthusiasm Hitch puts on full display before her, as though she is performing—and hoping that somewhere, she might be watching. The fond wonder and melancholy with which she speaks of their short-lived time in the Military Police. Hitch, Annie suspects, comes because she is nursing the remnants of a badly timed crush on her.

In this place, it’s a happy accident. It relieves the slight irritation she feels when Hitch confesses a touch too much detail about the minutiae of her morning routines and new interests. She’s grateful, in some deep unacknowledged part of herself, for the contact with another person from her old life, even if it’s one-sided and not very conversational on her end.

Every now and then she gets glimpses of the activities her erstwhile associates—Eren, Armin, Mikasa—are getting up to, in updates from Hitch spaced months apart. It is amusing, at first, to hear Hitch discuss them with distant respect and reverence as if at a remove, when she has firsthand knowledge of their individual quirks and neuroses, and can fill in the blanks within her iron silence much better than Hitch can. She saw long ago how they were some of the greatest breathing idiots to walk the earth; she briefly wishes she could tell it to Hitch too, puncture the aura of myth that has surrounded them like a bubble.

Eventually enough time passes that she has to recontextualise what she knows of them against the secondhand knowledge Hitch relays to her each time, adjusting her mental picture of who they are, the distance between memory and fact asserting itself. It grows apparent in those moments that they are becoming foreign to her too, changing while she remains fixed here, with outdated fragments of people, an insect trapped in scintillating amber.

Armin drops in to see her about four times in the first year. When he speaks he reaches a hand out to touch her crystal, and probably gazes at her the whole time; she can tell by the soft thud of his fingers upon her looking-glass cage. He tells her about Paradis’s defenselessness, their discoveries over the ocean. Pleads with her for a sign, any sign, that she is listening, and then sits with his knees drawn up, the stone floor vibrating imperceptibly with his motion. After his second call he begins to express his sympathy for her. The belief that he now understands why she had to betray them.

She wonders, idly, if he’s kept his nervous habit of biting at his cuticles. He has a grim edge to his voice now, a flute and gravel ruthlessness she hadn't recalled belonging to him before. Unlike Hitch, he doesn't say much. With him, she gets treated to dense silences interspersed with outbursts of conviction, or emotion. As though he speaks only when he has no choice, no other outlet.

She supposes his approach is one of delicacy, in opposition to Hitch’s: there is no evidence she is conscious, although she is alive, so talking is more or less a fanciful gamble; there’s no guarantee his words will reach a living being. She can’t fault him, on a technicality. She only laments that his idealism has given way to unimaginative realism too. Officially, he is devising a plan to establish contact with underground allies in Marley; unofficially, she wants to ask him if reaching the sea had truly made him happy, or only brought a new wave of troubles.

But her opportunities to have anything to think all these against are privileged and few. The visits are sparse, on the whole, so that she learns to conserve her responses and, most importantly, ration her thoughts—like a precious, corked wine, fit to be let through into her conscious refrain only in drips, a resource not to be exhausted too quickly. She has to remain here until there is certain guarantee she can complete her mission. In layman terms: she has to last through years of boredom.

She repeats it to herself, like an idle song or a blinkered reminder: she can endure it. She has to endure it.

After that she slows down her pace of thinking by necessity. Draws every internal argument that would have taken minutes out over the span of weeks. This dissolution makes her feel not so much like a primordial titan, moving according to vast, immense timespans, but a piece of rubber stretched to its limits, shrivelled and ready to burst.

Dreaming is the most direct analogue for her existence in this crystal shell. But it’s an incomplete description. It’s not like being asleep. She hasn’t relinquished consciousness, simply adopted a fickle and yet compulsory relationship with it. Some days, her mind is sharp and lucid like clear water. Others, she wakes up sluggish and nauseated, with the slow pressure of an anvil headache at her temples, a feverish chill bathing her bones. Like she’s slept far, far too much. Like she hasn’t woken up at all, but passed into a worse, second slumber. The effect is that of being drugged, of being sunk into an unnatural fatigue.

In these moments her choices are confined to the binary of staying awake and suffering, or returning to sleep and worsening it. Her muscles ache and scream for movement or stimulation; but she cannot move, and so has no recourse to relief. Only the sickening ache, the awareness of the uncomfortable fog, her arms trapped by her sides, always, like dumb logs.

Consciousness becomes the centrepoint her life revolves around. Sometimes, its presence is like a bullet aimed at her that she can’t catch: fleeting, painful, inescapable.

Back in the trainee bunkers she’d moved slowly. Pulled off the act of a sullen, indolent girl, better inclined towards a long nap than proper sparring. It’d shocked people that she was in fact a first-class prodigy in hand-to-hand combat. More than once she’d heard herself described by her peers as a concealed knife: inconspicuous at first, lethal once unleashed and in motion.

Those days are behind her now. A trite touch of fate, perhaps, that her languorousness now looks like it had been a rehearsal for this longer, extended sojourn in stillness. She can no longer summon movement; she has no defense against any assumptions people might concoct about her. She can only hope that people will remember the shadow her outsized figure cast as the Female Titan, even in the absence of continued proof.

As it turns out, what is most difficult is not the boredom, or time, or the trappings of her mind. Solitude suits her. She is not afraid of her thoughts. The symptoms of wakefulness frustrate her, but her mind has long been a well-controlled thing, smooth and cunning. She’d perfected the skill of disciplining it through the gruelling, unending hours of training with her father in her youth. Learning great focus, concentrating on the exercises that determined if she got to sleep, or eat, or drink. Disregarding all other excess, like the russet burn of sunset or sundown behind her in the courtyards. Your mind could not be suggestible, in this situation. Not even as an eight-year old.

No; what truly grates is the loss of sensation. Her capacity to interact with the world. Heading inside has severed her from her repertoire of fighting stances, uppercuts, movements. No longer can she understand her environment by the rhythms of her body attuned to it: the sunspots in her vision, the wind whipping her shins, the recoil of her fists against an enemy. She once knew the world by the blows and kicks it directed back at her; they were signals, an entire language of their own. She's been reduced to a lonely speck, disconnected from her single means of communication, her vernacular for parsing the world around her. The lonely, obsessive cycle of thoughts she can stand—but this? The dark, empty corridor of her body where she once had access to momentum, eruption, injury and the lightning burst of revelation in knowing her enemies by their punches, the scrapes and bruises left on them? It’s unbearable.

She resigns herself, but never quite crosses the hurdle. Many times she registers the itch of her limbs desiring to move, a furious bristle skittering upon her skin or on the edge of her brain. There is no outlet for them. Even the smallest movements are off-limits to her. She can’t flex her fingers, or tense her toes. The boundaries of her prison are absolute. These impulses, blossoming and then dead-ended, coil up and accumulate inside her like poison. Like a stricken scream with no release.

After a period of time she tentatively defines as three years, she hears Hitch entering and turning the key in the lock in her usual smooth motion. The tiny clink a struck bell in the gloom of mental oblivion. She perks up. Prepares to listen for any news.

“I know it’s been a while,” Hitch starts, “but we’ve been busy preparing for the Queen’s inauguration— like, god, how many ceremonies do these nobles need?— and I was detained by gift duty, can you believe, which meant I had to shop for the second-tier nincompoops over at the chambers—“

Annie’s blood, a gentle throbbing before, suddenly runs cold. Inauguration? But surely— Historia’s coronation, according to the silver measure of her careful timeline, had passed a long time ago. They should have moved far beyond by now.

“Anyway,” she hears Hitch saying now, a little morosely, “hard to believe it’ll be one-and-a-half years soon with you here. That you’re still in there.“

Annie chokes, a gutted sound in her head. She must have lost touch with her sense of time in the previous few weeks. It’s the one possible explanation.

If it’s only been one and a half years, she can only imagine what the next two, or three, or five, or seven years until her death will be like.

She feels the rug being pulled out beneath her feet. There’s panic now, a stab in her throat, the realisation she has to move back to the drawing board. Reassess everything she knows. She’d kept track well enough in the later half of the first year—what had changed?

Hitch leaves. She doesn’t register it.

Her sanity has so far hinged upon the single, fantastic, incredulous constant of Hitch’s visits to her. It’s a fragile coincidence—Hitch might one day get tired of her, reality outpacing her idealisation of her, and stop coming, too. She is beginning to feel the hours and days like an acrid trap, her thoughts a rapid torrent that her body—inverted in frozen stasis—will never keep up with. Suddenly every second is too slow, too long.

She wants to yell. Wants to rattle the bars of her mind-cage. But the only thing that answers her is drifting somnolence, like a hand passing sluggishly over her head, and then disappearing. The same smiling silence of her unresponsive body, indifferent to her will.

What life will this be, she thinks, what life will I be left with, and tries to plan, to consider the contingencies—but just as suddenly, nothing comes to mind, except the hollow echo of her voice referring across her insensate headscape, the strain of her thoughts thinned into pieces from disuse.

#i'm rusty with writing but! here's a thing #this is mostly about the horror of being stuck in a crystal for four years with your thoughts as your (almost) sole company #featuring very light and one-sided hitchani #i actually love the ship; annie just can't reciprocate because she's. y'know #snk #annie leonhart #hitch dreyse #hitchani #hitchannie #annie leonhardt #my fic #aot #armin arlert

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zeta-in-de-walls · 4 years ago

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Okay, in the wake of the L’Manburg war, allow me to get meta for a bit.

Now obviously the war, and the SMP server in general, are just for content. The stakes are all fictional - nebulous things like freedom on a minecraft server, sentimental value placed on music discs and all that nonsense.

Bearing that in mind, I want to discuss how it played out.

Who were the best players? It’s clear who were the most powerful and dangerous as enemies - Dream, George, Sapnap and Punz. (I’m leaving aside Eret for the moment btw) They all had full netherite armour, planted TNT traps and planned betrayals and ambushes to win the war. They had the upperhand throughout. Meanwhile the other side felt weak and ill-prepared and did very little damage to any of their opponents.

But you know, being more powerful doesn’t actually make for much content on its own. What makes good content? A good narrative filled with drama, tension and excitement. In those terms, we’re looking at Tommy and Wilbur carrying the server with this war.

The second they said independence and made some grand speeches, there were stakes. Instead of the server being a somewhat peaceful building simulator, it was in a state of conflict. Alliances were created, flags were made, Hamilton and Revolutionary war references were heard, matching skins and all that were being created. Putting great significance into stuff like a patch of tilled soil, suggesting carrying sticks instead of weapons and wearing no armour but fighting with words - that’s the sort of stuff that made this whole scenario work. Without it, this dispute wouldn’t have been able to call itself a war. They even make ridiculous stuff sound convincing - just the idea of calling L’Manberg its own separate server that happens to be inside another server with the running costs still being paid by Dream. It’s crazy but it works.

And my goodness, did they have their work cut out for them.

You see, I feel like Dream and co. weren’t really playing along. They heard ‘war!’ and thought - let’s win. Let’s absolutely crush the enemy! No mercy.

Now playing the villain can be cool, sure. And it kinda worked here. But only just. Some of their actions definitely irked me.

See, there are kind of unspoken agreements in stuff like letting people prepare, not attacking too early, that sort of thing. You tell everyone that the war’s gonna take place at 7pm and sure enough it does. And there’s Dream’s server rules: No stealing and no griefing. These rules do get bent in the middle of an ongoing battle - eg battles often involve a lot of placing and breaking blocks and when you’re low on stuff, trying to run to a nearby chest to grab some last minute supplies is going to happen (and later after the battle’s done you’ll probably get yelled at a little before making up) - but generally they are upheld. Especially when others are offstream and you aren’t in the middle of something.

‘Ah but it was war - rules can be broken!’ one might argue. Yeah, no, this is entertainment. You don’t start early because you’re going to ruin the stream and make the content worse - and the whole point of the war is to make good content. Like, when WIlbur’s stream died - they asked for a pause so WIlbur could sort out technical difficulties before continuing.

Yeah so Dream and Sapnap basically broke all the rules in order to win. Fundy and Tommy put up insulting signs in different languages. Funny content. Dream and Sapnap burned Tubbo’s house to the ground. Err... okay that’s a bit excessive but we can make it work. No mercy, ha.

So Tommy asked Tubbo to prep for the war. Tubbo agreed and got to work to try and balance the already uneven odds. At this point, the war’s in a day and all of Dream’s side has full netherite and none of L’Manburg do save Eret. Time is short but that just makes it all the more exciting.

So Tubbo uses villagers and trading, stealing a frugal amount to get himself started before really getting into it and grinding for diamond armour and makes nine stacks of emeralds - enough to place some high level enchants and even the odds a little and make the fight interesting.

While Tubbo’s offline, Sapnap comes in and steals them, getting books to enchant his own set of netherite armour using Tubbo’s set up. Well then. There goes any hope of a fair fight. And they are trying, you know. They realise the armour discrepancy so they’ve been trying to get potions but even that’s a struggle - when Dream finished his apology stream he logged on to the SMP without warning and managed to kill Tubbo before he could get away while his inventory had been full of potions. (Tommy and Tubbo had been visiting Dream’s base to put a sign in it - an offer of Mellohi for peace. Nothing comes of this sign or any of the other Tommy put in other people’s houses - more potential good content there like demanding Sapnap stay neutral in return for a supply blaze powder (a ref to the drug war that preceded this conflict)). It’s not that Dream killing Tubbo is the issue - it’s more how he logged on basically without warning so Tubbo had little chance to get away as he was mostly unarmoured and ungeared.

Still, the next day Tubbo is trying to grind back up, to even up things a little. He’s only managed to get 2 end crystals and he has a few sets of plain diamond armour and a few books. So he grinds like crazy in the limited time, trading all his iron, chopping trees, carrots, bamboo, sugar, everything he has into emeralds. But he needs levels. He tries to go to the spawner which the other side has been freely using to grind up exp and they kill him when he goes near. One time, Dream kills him while he has several books on him so he has to trade back emeralds to get them again. And now he doesn’t have a good way to get experience so he can’t even the odds. Punz and Sapnap even combatlog inside the spawner so if he goes near they’d come online and kill him. And yeah, they’re stream sniping. They’ve all streamed very little, hiding all their preparations while taking advantage of the fact that the other side have all been streaming everything they’ve been doing.

‘Imagine streamsniping.’ Tommy and co. said that at one point during today’s conflict. It’s cheap - it’s not fun, it’s taking advantage - one that’s not even necessary as you’re already all OP. Dream’s side aren’t the underdog, they don’t need every single advantage to win this. Instead it’s more like rubbing salt into the wound.

And yeah, despite all the griefing that Dream side have done, not once does anyone grief anything of theirs - like the chat was totally asking for them to burn down Punz’s house. No, they just place signs and talk.

Okay, so Tommy announced the war would be at 7pm. He logs on at 6.45 to say hello and hype all his viewers up, get his music playing and give a rundown of the situation and what’s occurred since he’s last streamed. No sooner has he logged on then Tubbo gets ambushed early! They attacked prematurely!

...

It’s like there was one rule - war begins at 7pm. And instead Dream, George and Sapnap all attacked Tubbo at his base at 6.45. Tommy is ages away and can’t do anything and Fundy’s in trouble too and Tubbo just barely manages to save the gear he has managed to prep. They’re even more on the backfoot. All their strats are known anyway as they’ve been watching streams so they know all about the potions and endcrystals while Tommy’s side are in the dark about Dream’s side’s preparations. For instance, offstream they filled Tommy’s base and L’Manburg with Tnt which they set off to devastating effect.

The ‘war’ is as one-sided as you’d expect. Tommy and co. are trying to attack even though they lack arrows and food and are hopelessly outmatched but they put up a pretence of trying anyway. At no point is a single one of Dream’s side even moderately threatened (except perhaps when they ambushed Tubbo early as he tried using harming potions) and everyone knows it.

Still, Tommy and Wilbur push on - they talk, they rally etc. Finally, Eret betrays them and they’re all killed in an ambush. And they’re shocked by this twist, they react, they call Eret their downfall. (Dream’s side didn’t need to resort to such tactics to win given their obvious advantage.) and Eret being a traitor is fantastic for content anyway so it is a great part of the narrative that they all react to perfectly. Eret seems to have a good instinct for making good content as well as this sort of twist is a good addition. It works because its drama - they trusted him and they never expected him to betray them to the other side after all they’d built together.

In the end, Tommy finishes it on a high with a dramatic bow duel followed by offering the discs in exchange for freedom. And fittingly, despite have being entirely outplayed in terms of power and tactics, they win the thing they cared about - which was the independence that they started the war for. The content - not anything material. Dream’s side was far stronger and better prepared and they weren’t given so much as a chance to catch up for a pvp conflict. But L’Manberg - they got that.

Okay, so this has been long and I’ll probably rewrite something similar soon - but I wanted to highlight how in meta terms, the war was being played unfairly and its obvious that Dream’s side had different priorities - win under any means necessary rather than continue to make great content for the SMP. They’re treating it like a manhunt or something when its absolutely not and shouldn’t be. They’re lucky that Wilbur and Tommy were so good at making it work as they do all the heavy-lifting for the SMP which ensures its got a healthy lifespan.

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