#making use of characters to prop up the narrative

[covertblizzard]

Maybe I'm being sensitive but this whole scene just frustrates and annoys me because like

comparing Steph and Tim so callously with comments that he's "better" and a "quick learner" after her death

having Cass lowkey victim blame Steph for her own death "But she chose--" and "She messed up." plus trying to convince Tim that it's not Steph's fault

the "Maybe it's time I gave you a lesson" like I don't really have a good reason for this one it might just be a personal thing but the tone of that whole sentence makes me feel frustrated and talked down to

[lupins-hehim-pussy]

I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears

I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!

The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.

More:

Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.

Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)

Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.

Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.

Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.

The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.

They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.

And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.

I could go on, but this is already so long. But yeah, I hope this gave you an idea.

[lizzy-bonnet]

MASH has so many modes of masculinity. Hawkeye, massive ego, womanizer, very self-consciously non-violent, masking pain through humour. Winchester, whose masculinity is SO, SO bound up in class and wealth. Klinger, serving absolute cunt for several seasons before pivoting to practically being regular army. Hunnicutt, soft masculine but at the same time so route one that some of his biggest crises come when his wife cleans out the gutters by herself and works as a waitress, honestly the guy might as well have been on The Waltons for how traditionally he sees his role in his family.

But Frank such a fascinating study. He's performing masculinity so aggressively but also so poorly that it folds back on itself to become a parody. He doesn't really like his wife, but he isn't brave enough to leave her. He's threatened by his side piece and constantly tries to diminish her. He uses his firearm as a prop to make him feel big. He's the least "manly" character in the cast but he wants manliness more than anyone else. His trauma is hidden in throwaway lines. He's desperately lonely and unable to connect with others because he can't stop being such a wanker. He's petty, he's jealous, he's humourless, he's sour. Margaret eventually dumps him for someone who she thinks can give her the life she wants, and goes on her own journey of character development and when she leaves him behind he spirals instead of trying to find his own identity.

I kind of hate how undignified his ending is but at the same time, once he no longer has Margaret to cling to, what's left for him? Honestly I find him so tragic, he's such a sad little trainwreck. The narrative is often cruel to him, sure, but I also think the masculinity of the period (and still today) was really cruel to someone like Frank who doesn't have a strongly defined sense of himself the way the other men in MASH do. When I used to catch episodes in syndication he was hateable, but streaming half a season in one go just makes me feel sad for him.

[fate-motif]

picard s3: yeah we didn't include wesley because we didn't know how to include him without breaking the narrative

prodigy s2: you are like a little baby. watch this. [develops wesley, makes integral to the story but well-leveled, talks about how he's been ghosting his mom, and uses him to prop up and develop the main, new characters in compelling ways]

[thr0wnawayy]

Hi l, I absolutely love your takes and I want to ask smth...I never saw anyone ask before....what was the point of Izu?

Maybe you are confused with this question, after all, in the first chapter we see (the first signal of delulu) he wanted to be a hero and became one ...

And got suffering

Suffering

And oh yes sure, suffering.

Like ...what this helps in the narrative?

"he is there to cheer for abusers" something Izu haters say but ... honestly, that isn't correct as many people in this story cheer for Endy or Aizawa. Izu is not even needed for that.

I know we can't read Hori's mind to know what was the point....and we do know he doesn't hide his disdain for Izu....but like, in canon, he is just there to suffer and his suffering adds nothing.

"to show how corrupt the hero society is"

We have plenty of examples like that...Izu is really not needed.

So...again, why?

It's just tiring seeing him feeling worthless and people all validating this feeling. Why? No one knows nor cares.

The problem with Midoriya is it feels like he never actually works for anything.

Excluding for a moment the very real possibility of 'learned helplessnes'.

After Gran Torino, when do we see Midoriya work for anything? What does he accomplish?

Nothing, he gets nothing and he works for nothing.

Sure he worked for OFA but after that, he kind of stagnates. But admittedly it's not his fault entirely, The (very small) world of MHA seemed intent on screwing him over at every given opportunity.

Aizawa and the rest of UA is fucking useless as an institution. Throwing untrained child soldiers out on patrol and seeing what sticks. How nobody has died yet, idk.

One Ao3 commenter said it best:

"UA is a horrible learning environment where I wouldn't be able to trust anyone and would very quickly grow paranoid and grow/hold grudges against "stronger" students because every loses against them could mean my expulsion for being "too weak".

"Also, he uses his quirk all willy-nilly without caring about the potential lethality of such usage (you have a quirk like Denki's that stockpiled something like electricity, he uses his quirk on you, the stockpiled electricity goes haywire and kill you and several other people nearby or you risk losing years of accumulated energy.) OFA could have lost all it's accumulated energy.)"

Everything Midoriya does feels pointless because there's no reward. Midoriya receives zero acknowledgement or recognition and the viewers are given no payoff.

His classmates ignore him, or make some comment on his failings/pain but never act.

Aizawa seems to single him out constantly, while the rest of the staff, even All Might seem content to twiddling their thumbs as Aizawa continuously tramples over the rules of student-teacher conduct.

(no aggressive physical contact, no verbal abuse, etc)

Midoriya is the centerpiece and that's precisely why Hori tried to use him to prop up the abusive cash cows. It's narrative gaslighting 101.

"If the protagonist says it, then it must be correct"

I'm going to be honest, Midoriya was always a vessel for the plot but he at least had character. That's why so many people jumped ship when the Dark Deku are turned out to be a total bust.

Because there was no reason go engage in story that can't respect it's roots (original premise)

He was given power up after power up with no thought on what came before

By the logic of OFA being a stockpiler, Flight should be the strongest quirk out of all of them. Gearshift should be the weakest. It makes no sense until you account for Hori's "subtle" sexism *and I have no idea if it's intended or borne of ignorance.

It was supposed to be "This was how I became the greatest hero"

Not "How we repeated the sins of the father"

That's why Midoriya fails as a protagonist, as a character. Because MHA doesn't have a protagonist, it doesnt have a hero. Just a bunch of super-powered SWAT celebrities covering eachothers asses.

Mha was a story about focusing on the victims .

And ended as a story about the abusers.

[fastcardotmp3]

future!steddie; long haul trucker Eddie; firefighter Steve ~1k words

It makes sense to Eddie, an obvious out when his world's gone to shit and he has to get away, that his escape route from Indiana is the same job his uncle left to settle down there and raise a kid with nowhere else to go.

Driving long haul means there's no one looking that close at a face that made it to the national news during his week on the run. It means living on the move, never stopping long enough to get stuck anywhere.

It means freedom.

It means loneliness.

He calls Wayne twice a week, coins in pay phones at rest stops while he's waiting for his hair to dry post-public shower, and that's enough for him.

Wayne has always been enough for him, and it would be hurtful to suggest otherwise; it would be disrespectful to the life Wayne helped him build, keeps helping him build with all that faith that had him never doubting an innocence questioned by everyone else in that God-forsaken town.

Twice a week. It's the only phone number he knows by heart.

Twice a week for weeks and then months and then years, driving cross-country and back again, it's freedom. He keeps telling himself it's freedom, that it's good, that he doesn't need anything more than that.

But driving long haul means there's a lot of time for thinking.

It means a lot of time for collecting thoughts up together and creating new meaning entirely.

It means that by the time he's twenty-one and twenty-five and thirty that he has tape after tape after tape where he's collected those thoughts aloud in the rumbling loud silence of an overnight drive.

Thoughts like who would I be if I'd stuck around? and thoughts like will they understand that this time running saved my life? and thoughts like I miss them, am I allowed to miss them, am I allowed to love them without ever really knowing them?

It means that when he stops for all but the first time in ten years, coming home to Wayne to find that Forest Hills is home to a couple more familiar faces than he expected, there's space for his words. His endless, looping thoughts.

Steve's got his own trailer these days, brings in Wayne's mail for him on the mornings he comes home from the night shift at the fire station and stays for coffee.

Steve's there across the way when Eddie drives up in a new-used flatbed truck he'd bought with his final paycheck on the day he hung up his hat and decided he'd been gone long enough.

Steve's there in stories Wayne only begins telling now that Eddie is home, endless retellings of a brand-new man who became a friend during a time when the name Munson was still a dangerous thing to carry.

Steve's there when Eddie starts transcribing all his dictated notes into something resembling narrative and character and prose and Eddie doesn't know the guy who jumped headfirst into another dimension, hasn't spoken to him since that week that forced Eddie to flee in the first place, but maybe he doesn't need to have those years under his belt.

Maybe it doesn't matter if Eddie knows a nineteen-year-old Steve Harrington, because he knows the twenty-nine-year-old one starting a matter of hours after he comes crawling back home, knows this grown and steady one who looked after Wayne when Eddie had to leave.

This Steve isn't stuck despite still living in the town that tried to kill him. He doesn't seem lost or without purpose.

He lives a simple life, working at the Hawkins FD and feeding stray dogs with the bowls he leaves out beside his porch. Robin comes and goes, seemingly dating her way through the Midwest's entire sapphic population and sleeping on Steve's couch in between live-in girlfriends.

There are old friends on the phone at near constant intervals in Steve's home, and there's that phone being pressed to Eddie's ear without giving him the chance to be terrified about what Erica or Dustin or Max might say to the guy who hasn't allowed anyone but Wayne access to him for a decade, what he might say back after so many years without proper human socialization.

Eddie has been moving for so long, stayed moving through the bulk of his acceptance of everything that happened to him, but there's a different sort of quiet here than what he found on the road, stillness, amongst the casual chaos.

There's similarities to life on his rig, sure, a certain routine to the comings and goings, only Eddie isn't hiding anymore and he's not thumbing through the same staticky stations anymore and he's not lonely anymore.

He doesn't know how to sit still yet, not really, but he stays up all night handwriting poetry on paper he once spoke onto tape on the porch of his uncle's trailer and sometimes when Steve gets home after dark, he'll sit with him.

He'll eat his dinner still in uniform and listen to the scratch of Eddie's pen and Eddie doesn't know him, Steve Harrington, but he's getting to know his neighbor Steve.

Ten years down the line and he's becoming solid right there in front of Eddie's eyes, becoming real, becoming something that can't possibly fit onto the tapes filled with nonsense and insights alike.

"You're never what I think you're going to be," Eddie admits to him one morning over coffee before Wayne or Robin have risen, before the phone has begun to ring, before the world wakes up and brings Eddie's life along with it, ready or not.

Steve smiles at him, amused and curious and cocky in the way he responds, "you're exactly who Wayne said you are."

It's an admission all its own, that Steve has thought about Eddie, spoken about him, in the time they've spent apart, even if it was only because he'd dared to keep Wayne Munson's company.

It's still an admission though, that in his absence, in his loneliness out on the road, Eddie wasn't forgotten by the watercolor skies over Hawkins, Indiana.

"Yeah?" Eddie breathes in those very skies, "and what did Wayne say I'd be?"

Ten years down the line and suddenly it makes sense to Eddie.

It makes sense in the morning dew on the lawn; it makes sense in the too-strong Harrington-brewed coffee; it makes sense in the wheels of his truck on a road that does end, eventually, and it makes sense in the collected thoughts and feelings, fears and dreams that he had to go away to decipher.

The freedom was in leaving, sure, but this? The coming home to Wayne and this porch and the man who lives across the way?

"Stick around, Munson," Steve Harrington dares on a morning like any other, "and maybe I'll just tell you."

Well. As it turns out, this might be the thing that saves him.

[gallusrostromegalus]

Ehehe, I see that Josuke Araki has made his way into your script :P

Are there any other JoJo's floating around in Soul Society and beyond?

So I like to populate the background characters of my fic with characters from another series as just a fun reference, but I feel like some people are reading into it a little to much. It's like- well, there's a watsonian perspective on it and a doylist one and a sort of meta-watsonian one.

From the watsonian/in-narrative perspective? You know that line from that Stucky fic everyone loves about "we deserve a soft epilogue?" I like to imagine AUs for main characters where they still live in an animeverse, but are free from the burden of being The Main Character. Usuke Urameshi lives in Karakura town, but he was never The Spirit Detective. He's just some former punk with mild psychic abilities who runs the ramen shop Ichigo goes to sometimes. Josuke is just some guy that has enough power to be a shinigami, but he's just like, rank and file. You see him in crowd shots. They're alternate universe versions of their full powered, main character selves and probably happier than those versions.

From a doylist perspective, it's a fun game of reference tag to play with the reader. A sort of where's Waldo of random characters from related series. Sort of like putting Samuel L Jackson in a bit part in your movie and giving him a purple prop to fiddle with. He's not playing Mace Windu, but for sharp-eyed nerds, he is making a star wars reference. Sometimes it's just for fun, sometimes is a way to lay on some really subtle thematic context. Like overlaying a 8% opacity layer of yellow on a digital piece to give the impression of late afternoon. Nothing explicit. Nothing relevant to the plot. Just a bit of seasoning.

From a meta-watsonian perspective, a lot of how I write fic was influenced by the old Kids WB bumps where the voice actors would play their characters *as though they were actors hanging out on the warner studios lot* Batman was still Batman, but he was also a guy playing Batman on TV. Yugi moto still had the cosmic powers of the millennium puzzle but also complained about how much time he had to spend in hair and makeup. So when you see a character from another series in my fic, they're an alternate universe version of themselves that is Not Relevant To The Plot, and on another level they're like an actor famous on another show, coming in to do a bit part on their friend's show for funsies.

...but mostly I do it so I don't have to make up names for OCs I'm only using for four seconds.

To actually answer your question: Yuzu is a HUGE fan of this educational YouTube channel run by Marine Biologist Jotaro Kujo. He's the only guy who gives echinoderms their due. She shows Ukitake and Unohana and they like him a lot too. Unohana writes to him to put him in touch with Hanataro and the two put together a major survey of venomous marine life with potential medical applications. Ukitake just likes fish :).

[starry-bi-sky]

Stillborn? No, still born au -- Dani Phantom! Clone girl herself. :]

She can't exist in this au. And it's not that I don't want to add her -- although I'll be blunt, I don't, I'll be the first to admit that I think she's more often than not nothing more than a narrative deadweight used to prop up Danny and I don't like adding characters as props -- but her existence quite literally goes against and muddies the Vlad and Danny dynamic I have for this au. Ellie's existence in canon itself states that she was created -- and Danny's other clones too -- because Vlad gave up on trying to convert him to his side and decided to just make a son instead.

Something that just, doesn't happen in the stillborn-still born au. See, for folks who are only just hearing about this au or didn't see my post about Vlad in this au, he and Danny have a complicated love-hate relationship where they mutually want to adopt each other, but their morals and way of doing things -- mainly Vlad's insistence on getting revenge against the Fentons -- gets in the way of them being able to do that in full.

Vlad knows Danny wants him to adopt him, and is only fighting him on it because he refuses to let Vlad kill the Fentons for essentially killing the both of them. He's succeed in 50% of his goal. Canon Vlad never even made it to 1%. With that in mind, stillborn Vlad has no reason and sees no reason to clone Danny, he has his son. He just needs to convince him to let him avenge them both.

Dani simply has no place in the stillborn-still born au. And in fact, if Vlad did decide to clone Danny -- for whatever reason, -- it would damage his relationship with Danny damn near beyond repair. That's because Danny would view it the same way he views Damian's existence; as a replacement for himself. He would become beyond furious and hurt, and not for the typical 'I can't believe you cloned me, you creep!' reason, but for a 'I can't believe you cloned me, you said I was your son!' reason.

I am not pulling any punches here when I say Danny wants Vlad to be his dad just as much as Vlad wants Danny to be his son, there's just a lot of factors getting in the way. They are, as the french say, ✨mentally unwell.✨ Danny has a ton of abandonment and trust issues due to his experiences in foster care. He would immediately become jealous, insecure, and incredibly furious and hurt. He'd despise her on principal and want nothing to do with her, or Vlad for that matter. He'd just fucking haaate her. It's not her fault she was made but Danny doesn't really care, he's lashing out and pushing people away because he's been betrayed yet again.

The only way they could get along or for Danny to actually like her in any capacity would be if it was his idea to clone himself. Which is like, kinda obvious but considering most clone plots tend to be non-consensual it's kinda gotta be said. He has to have a hand in creating her, that's the only way I can see him liking her in any way. Or if someone other than Vlad created her. If Vlad clones him though, all bets are off the table and he'll despise her.

TL;DR: Dani can't exist in this au because she goes against the narrative I've got for the two most fucked up half-dead could-be-father-son duo in existence, but if she did exist Danny would despise her.

[local-lamppost]

Initial thoughts cause it's 4am

Spoilers

First off, wow... it's really good. I've been saying that if season 2 is as good as season 1 Arcane would be my new favorite show and we are on track. Anyway, just gonna list stuff until I can process/rewatch a billion times

Mel lived! I was so certain that they would just kill her off, make that Ambessa's motive (give Jayce a reason to keep fighting the Undercity) but it's much more interesting keeping her involved in the narrative. Love her trying to bother understand and undermine her mother. Those Black Rose guys best not have hurt a hair on her perfect head.

Speaking of. What in the Utena are these Black Rose magic people? I love the look of their magic. I wonder how they can corrupt people. Is it a spell? Do they slip them something?

Love how the divide of Jayce and Viktor was done. Jayce betrayed Viktor's wishes of destroying the Hexcore. Last season, Viktor wanted to forget about using the core to save himself after Sky and begged Jayce to destroy it when the core wouldn't allow Viktor himself to do it. In Jayce's mind though, the core is the solution to Viktor's problems. He didn't know it killed Sky or that it can influence Viktor, but all Viktor can comprehend is that Jayce didn't trust him. Didn't keep his promise. And this is fresh off of Jayce's season 1 antics against the Undercity, so Viktor's faith in his partner was already shaken. Viktor's also comfortable in his mortality/death, even though he wants to prolong it like every other human, but Jayce can't fathom loosing Viktor-the man who saved his life and made his dreams reality.

(Side note: Am I a JayVik shipper? I never considered myself one, but after writing this...)

JINX HAS A KID! I love this choice. Give Jinx a kid so she is able to learn what Silco and Vi had to go through with her, that no matter how big or dangerous a scheme to take this child into account. The confrontation in ep 3 really showed what Jinx will have to consider now that this kid's decided to adopt her as an older sister or something. Especially nice detail of how Vi-who has always had to consider the kids in her life-immediately stops fighting and starts looking for ways to keep the kid safe.

I was wondering how Jinx would loose a finger and Caitlyn shooting it off to save Vi is just- The fact that the only way these two can show they care about Vi when it comes to each other is by hurting the other.

Sevika's new arm is fantastic. It's a peace offering from Jinx, but also a way for Jinx to feel better (it was something she could fix). The mechanics of it are really fun. It reminds me of Kite's weapon from HxH with how it didn't always work/give her what she wanted in the fight. I especially love the victory rockets and built in theme song.

Ambessa is so interesting. Between her character song to the introduction of just what she is fighting against, I am very intrigued. She reminds me of Cersei Lannister, except she loves her kids as more than just extensions of herself (as of what we've seen, but I think that'll stick). Her using Salo to establish herself-which also keeps Mel safe by distancing her-but also dropping him in order to prop up Cait at her first opportunity is such a clever move. She truly is the fox and the wolf, but she is above all a mama bear.

Not much to say about Heimerdinger or Ekko yet, but I am definitely curious to see what they do about the wild runes with Jayce. The three of them have a fun dynamic, what with Heimerdinger still being peeved about magic/being ousted, Ekko hating topside and having a new reason to do so with them poisoning his tree, and Jayce being recently seperated and divorced from both his partners.

Vi is an enforcer. I didn't know how they were gonna handle this, but they did it so well. Of course she wants to fix things for the people her sister hurt. She feels responsible. She can say she doesn't blame herself, but how true is that? Why else would she be wearing a badge if not for her guilt? She is desperate to do something right and being an enforcer seemed to be a way to make Cait happy, get her gauntlets (what she believes is necessary to make any kind of change), and be first in line in the hunt for Jinx. She says that her sister is dead, that Jinx is a desecration to Powder's memory, that they are not sisters but isn't it supposed to be 'nothing is going to change that'? How much of all this is just something Vi is telling herself to keep going? Cait is her motive right now, but after ep 3 I definitely see why she starts spiraling.

(2 Side note: Her new best friend/drinking buddy is such a real one. They have a bender in the gutter together and now he's following her into and out of the enforcers. I wonder if he knew Vander? In any case, he is a delight.)

Cait and Vi kissed... CAIT AND VI KISSED! Then NOTHING HAPPENED AFTER! NOTHING! No immediate break up, nope.

So Cait. I love Cait and I am hyped for her arc this season. I am ready to fight tooth and nail for her. I am a Caitlyn defender. So what she's being manipulated into leading a military state due to her grief/unresolved anger/guilt/Ambessa being better at this than her, she looks amazing in her cape. It balances.

Seriously though, the writing for Cait especially is so solid. She is desperate to hold herself and her family together, to protect her city. She still wants to protect the innocent, to heal the Undercity, but her anger at a select few of those she wants to help is clouding the greater image for her. Vi seems to be acting as her better half, the side that cares for the innocent-the protector. Ambessa is the agressor, encouraging Cait to take drastic military action against the Undercity as a whole. Vi's disillusionment with Cait is due to the fact that Cait desire to heal, not harm, is what caused her to fall for Cait to begin with. To see more than some privileged topside enforcer, but a woman who genuinely cared and was willing to abandon her peaceful naivety to learn for the greater good of strangers.

I'll also point out that they separate when Cait starts blaming Vi for them loosing Jinx. Before, everyone but Cait put responsibility on Vi, she was supposed to be the one to help lighten the load and absolve some of the guilt. Now Cait is becoming another one of those who slam the blame on Vi. She changed. Why does everyone around VI change?

Can't wait for the next batch of episodes.

[sapphic-agent]

I think my biggest argument against Bakugou stans insistence that none of his awful behavior is his fault and that he has amazing character development is this: you have to WANT to change in order to actually change.

I won't deny that his teachers and society in general played a part in making him the person that he is today, but people love forgetting that Bakugou could have chosen to not behave the way he behaves. In my previous post, I talked about how he could have actually reflected on how and why he got kidnapped, why he was being criticized by the media, and why he failed the PHL exam. He could have realized that 1B and 1C hate 1A just because they're associated with him and his arrogance.

Instead, he just projects his own insecurities on Izuku and acts like just because he has not just a Quirk, but a "hErOiC qUiRk" (god I hate that so much), he's entitled to treat people - Izuku especially - like dirt. He throws a tantrum because Izuku gets a Quirk. He throws a tantrum because he lost against Izuku in the Battle Trials. He throws a tantrum because Uraraka put up a damn good fight against him. He throws a tantrum because Todoroki didn't fight him at his full power. He throws a tantrum when he's being taken back to camp during the Training Camp Arc. He throws a tantrum when the rescue team finds him. He throws a tantrum when he fails the PHL exam. He throws a tantrum when he finds out about Izuku having OFA.

And even after this supposed #bigmoment for him, he STILL acts the same as before. He offers absolutely nothing to the table during the OFA meetings except for his obnoxious arrogance, he's STILL an asshole to civilians when that's precisely why he failed the fucking exam in the first place. Instead of realizing that his treatment of Izuku is one of the main reasons why he left UA and sees himself as worthless, he blames ALL MIGHT of all people and completely absolves himself of any and all responsibility. He completely brushes past how and why he "looked down on Izuku" and gives a surface level apology... before acting exactly how he did before. He even has the nerve to make Izuku losing OFA all about him.

Bakugou doesn't want to change, so he doesn't see behavior as wrong. No one around him sees his behavior as wrong either, which just adds to it. And in arguing that Bakugou isn't responsible for his behavior, it takes agency away from him and his non-existent "growth".

Honestly, there are a million and one ways Bakugou's development could have been improved. But for me, just keeping him more aware of his actions and reflecting on them would have been enough. Him making the conscious effort not to be a dick would have shown he's actually changing and wants to improve.

But no, Bakugou doesn't see fit to change because no one makes him. He can't take the criticism from others to heart because people- Aizawa, Kirishima, Uraraka, and even Izuku and All Might- are there refuting it. How is he supposed to improve when the people around him are defending and condoning his awful behavior? How is he supposed to realize how bad his actions were when the narrative is using other characters to downplay them?

(Having Uraraka of all people defend him in the light novels was such a weird choice. I talked about it and mentioned it to @doodlegirl1998 before, but it's clear throughout the fight that Bakugou still looked down on her. Her not being able to recognize that and turning into one of his props was such a slap in the face to her character. She's one of the main victims of bad writing in the manga and having her agency stripped even more is just insult to injury. She deserved so much more)

Bakugou is, at his core, entitled. He felt entitled to treat torment Izuku. He felt entitled to know how Izuku had a quirk. He felt entitled to face Todoroki's fire. He felt entitled to know about OFA. Bakugou's character centers around this thinking that he can get his way no matter what, and then throws a temper tantrum when that doesn't happen.

This literally persists to the very last moment because he's currently devastated that Izuku lost OFA, when he's not the victim here. How fucking self-centered do you have to be when your so-called friend lost an important part of himself and he has to comfort you about it because for some reason you're acting like you were the one that was hurt?

Bakugou constantly makes everything about himself and the narrative not only enables that, it perpetuates it

[teaboot]

which version of the x-men is your favourite? are there any characters that you have strong opinions about different versions of them? Have you ever seen the x-men anime??

OH!

Nightcrawler is my favourite across the board, though I'm not the biggest fan of his super angsty bummer iterations. I feel he's much more interesting as the kind and hopeful character than the grimdark murder and shadows guy. That's sort of an oversaturated market, anyways. Obviously faith and morality are really big facets of his life but like. Some writers dig into what that MKTIVATES him as a person, and others seem to just use it as a prop to enhance an edgy aesthetic. Which is.... fine, but not my jam, personally.

And I really like Storm and Rogue's dynamic in the 80's cartoons. They had girlfriend energy.

Scott is a Ross. I'm sorry. He is the Ross of this friend's group. I understand why he's Like That but he still annoys me.

Wolverine is also a favourite, but I feel like his relationship with Jean is just so, so incredibly bland, ESPECIALLY in the movies and cartoons. We just never see them getting along or hanging out or indicating that they even LIKE each other, but the narrative keeps forcing a love triangle???? Like damn son, she's in a committed relationship with captain stick-up-his-ass, move on. It would be WAY funnier and make way more sense if they just said "yeah they aren't actually romantic interests, he just flirts with her in front of her BF because it gets a rise our of him". They're basically already doing that anyways. Ugh. Idk it's a NOTP from me gentlemen

[codenamethebird]

More Hades 2 rambles from me! Though this time round it's a continuation of a point I made in this post.

Specifically, that I think the final boss of the Surface will be a living human mortal.

A couple people on that post disagreed that it would be a human, mostly just because of boss fight mechanics. Which I do get, but this is my not so little refute of that idea (all in good fun of course, I very well might be wrong! I just have thought a bunch about it since then and wanted to ramble about it).

I'll be getting into later how the game could have a hard mechanically satisfying human final boss later, because first I want to talk about how it would make sense naratively. Not because anyone remotely argued this point, I just think it's interesting haha.

So let's go back for a moment to Hades 1, and it's final boss, Hades himself. On a mechanical sense, it makes total sense, Hades is the god and master of the underworld Zag is trying to escape. He would be the final obstacle. But what really makes Hades work as the final boss, is the story and emotional reason he's there.

The plot of Hades is ultimately about Zag's messy relationship with his dad. And that final boss fight is an ongoing conversation with him. While irl you and your questionable dad constantly fighting to death is not a great way to fix your problems, these are weird bound to underworld greek gods. Death is their weird love language for like half this cast haha. There is a reason Death is one of, if not the main love interest.

Okay now that I've established that, let's look at the one final boss we do know from Hades 2, Chronos. Now it's Grandpa's time to shine. Unlike Hades 1, he fits a lot cleaner into a more traditional villian role. The monster who literally takes over your house and takes your family hostage.

In that way, it is a personal fight for Mel to save her family, but Mel lacks a specific personal connection to Chronos himself. Obviously there's the whole Grandpa thing, but she wasn't like raised by him or anything. He is a convient big bad she can hate simply and wholeheartedly. While he does try to challenge her beliefs at times, Mel will never listen to him because of the whole family kidnapping thing, and Gramps equally doesn't want to engage with her either. He just wants to be a dick to her.

While I'm a firm believer in the "We (the gods) are actually the bad guys" theory, I don't think Chronos is secretly an angel. He did you know eat his kids and that entire scene with Hades and him just reeked of shitty dad vibes. While Chronos might be better for humanity, I think he really is using them as a prop and doesn't genuinely care about them. (This is a derail, but I do think the human army side of things including Prometheus will turn on Chronos at some point. Specifcally that they are already planning to).

But yes, basically, while I adore Chronos as a villain, you get none of the character growth from either party that you got between Zag and Hades in the first game. Obviously, we are still in early access, so there's more dialouge to be had. But from what we have seen, those two are not changing the other. So this is my roundabout way to say that must mean the Surface boss is the one that is going to be all about Melinoe's character growth.

I don't think I need to explain why fighting a human would be a fascinating place for character growth for humanities #1 hater Melinoe. Mel's the Hades equivalent in this game (not the Zag), who will not listen to anyone who disagrees with her. Getting beat up by a human might actually start to get it through her head.

But also I want to dig into why I don't think the final boss will be another Titan. I've seen Atlas thrown around a bunch as a possible final Surface boss. Also Typhon... I'm certain there are others. But I don't know what they would add to the narrative, especially as a final boss? I think there's more evidence for Atlas, so I'll focus on him.

It would make some sense, he was the leader of the titan rebellion and much like Prometheus, in certain versions of the myth he was also freed from his punishment by Heracles! Which considering Heracles suspicious lack of dialouge so far, and the dialouge he does have being a god hater, I do think he's the one who freed Prometheus in this game.

But other than those connections, what does Atlas add to make him an interesting antagonist to Mel? He's not particularly tied to humanity, and while his punishment sucked he did lead a rebellion against the gods (and traditionally the reasons have nothing to do with humans).

Mostly, in my opinion, if the game was going to have a titan also be the final boss for the Surface, it wouldn't be Atlas. It would be Prometheus. He's the powerful titan who has a legitimate gruge against the gods and who can engage with Mel in interesting ways, challenging her stance against the gods. But they have already used Prometheus, I don't know how they could write Atlas (or whatever titan/god) in a way that would be more interesting than Prometheus, and rival the Hades boss fight for thematic weight. Also, it would be 2 titans in a row, which isn't nessisarily a bad thing, but still.

I've also seen people throw around it might he Ares, which I will admit would I would be way more excited for that another titan. Theres some interesting ideas to be had with an Olympian who has betrayed the gods. But we already have dialouge with Athena where she says how Chronos' armies motivations wouldn't line up with Ares'. And I feel like going from a dude only obsessed with war to someone fighting for some kind of higher cause would be a jump in character. Not impossible, but a little weird.

And ultimately, I just think that a Human would serve the purpose better as an antagonist to Mel who would shake her worldview on living mortals in particular. A fight with Ares would mess with her relationship with the gods, but not as clearly with humans.

Okay now that I've talked about themes, how about what people actually had an issue with lol, how would a final boss with a human make sense from a boss fight perspective. I have three main ideas, that don't really contradict each other and could all exist in the fight.

1st idea: multiple enemies. We've heard that there are human armies, the final boss could possibly be a leader of them. We could have hords of enemies, could have select recognizable commanders that have different skill sets, etc. None of the Surface boss fights have multi bosses in them (they have random mobs but none like the sirens or Theseus and Asterius), so I don't think it would be strange to have it. And while stretching the definition of a human boss a bit, these other bosses could be ghosts and other kinds of beings (I just think the main boss should be a breathing human).

2nd idea and tbh my main one. Have them be a Witch! Or some other kind of magic user. I feel like this should be obvious, but a lot of the theming around Hades 2 is witchy/magic stuff and it's wild we don't have a major witch enemy yet (other than obviously Hecate, but for obvious reasons I don't count her).

I'm thinking some kind of High Priestess of Chronos kind of character, we still don't know exactly how Chronos was revived and this could tie in, but there's a bunch of ways you could spin a magic user! I think it would be a prime place to put a narrative foil to Melinoe. A fellow Witch whose family was stolen away by the gods who is looking for justice. Maybe when finally looking into a mirror, some of the stuff Melinoe's been told will finally breach her thick headed skull haha.

I don't think I really need to get into the technical about how a witch fight could be cool. But one idea, tying into my first point, a magic user could have mind powers and compell powerful beings to fight for them. This could be the Zag boss fight of borderline crack theories or even maybe the aforementioned Ares who maybe got captured during his war path. A magic fight doesn't need possessed enemies, but it could be cool.

And finally, my 3rd idea. You might be going, but how could a human be more powerful than Prometheus? Well first point magic, but more seriously, just have them be boosted by Chronos and/or other allies. I mentioned a theory about a high priestess sort of character (the power of God and ani--), but more specifically, if they do go the route of a foil to Melinoe, she has her boons from the gods. Much like Theseus in Hades 1, the final surface boss could gain the boons of Chronos/Prometheus/and the like. Maybe even a Chaos boon, they have already aided Chronos once, and there's a decent chance the humans might betray Chronos at some point so Chaos might be chill with them. This could also be a way to introduce more titan characters and the like without needing to make models for them haha.

But yes, tldr, magic human gives us both the thematic weight of it being a human, witch stuff to parallel Melinoe, and just cool powerful magic fight as a final boss (and it could parallel the Hecate boss fight, the first boss u fight and the last being magic based).

[almacambiondaughterofsaleos]

Octavia Is Sidelined So Much In Favor Of Stolitz

Despite being used as an example of how Stolas is really a good person and father, I do notice overtime her importance in the series has dwindled. Seriously, despite how the narrative wants us to think she is the treasured jewel of his life the execution would have you say that her father is more distracted by his boy toy due to how Vivziepoop has overemphasized the Stolitz ship.

Take for example is "Seeing Stars" where he neglects his daughter and breaks his promise to see the event he promised years ago, because he's so wrapped up in his divorce and even goes to insult her mother in front of her (even though he's said in the past he's tried to shield his daughter from the ugly parts of his and Stella's relationship). However, now that he's divorcing he doesn't hesitate to be as ugly with Stella as possible which shows how really good of a father he is. Also when she goes missing despite saying that Blitzo's dick isn't enough to quell Stolas's anger when it's his daughter is involved... well it actually goes like that, because both Blitzo and Stolas can't help but flirt and be flustered around each other this whole episode. Instead of focusing on his daughter, he again is on Blitzo's dick and even worse his daughter has to forgive him for neglecting her.

Most egregious one of the them is at the end of "Western Energy" where we have the emphasis on how this affects Stolas and Blitzo's relationships especially those texts talking about their fall about Ozzie's. However, we never get focus on how Octavia felt after her father fucking almost bit the dust, because in the next episode that Stolas is in he's okay and again you would think he would be injured a bit more to show how serious Striker is. But nope due to Vivziepoop remembering he's a powerful demon, he recovers in a day and we don't see Octavia at least be escorted to the hospital to see him because again Octavia is only there when she's a tool to make him look better and not her own character.

And now we get to the music video of "Just Look My Way" where Octavia's mentions in it are scrubbed in favor of Blitzo which again shows how the narrative is favoring his boy toy over his own fucking daughter who is supposed to be the center of his world and not this person he's given up so much for. Seriously, it's why if Octavia appears again I will not take the narrative seriously because we know that despite all claims that her father will get distracted from being a parent and ogle over Blitzo because he's a selfish pos and yet Octavia will be the one who has to learn to tolerate his bs because he's got the author's favoritism.

I really at the first thought that Stolas relationship with his daughter was sweet, but then I realize like so many else it really lost it's potential once you realize that Octavia is just a prop to artificially make it seem like Stolas is a good father when in actuality he's selfishly putting her needs above hers in a situation he caused. And it's a result of the fact that the writers are just using her as a writing tool and not a full character. She isn't needed until it affects Stolas and even then the Stolitz ship zaps everything around it so that any attention that Octavia is taken away. In a way, Octavia's fears were justified her father would run off and leave her because the writers are.

[lemotmo]

I don't understand why they keep walking into this. Wow. 🤣

Q. When you remove the scene context from his dialogue you deliberately diminish the character. The context provides the importance. Of course you already know that. It's why you chose to remove it. You're not very good at this, are you?

A. You're correct, anon. I shouldn't have removed the context. Allow me to provide it for you now.

'can never have too much closet space, right Evan'.

The context of this scene is: Buck is on his first ever date with a man. He's clearly nervous, as most of us would be. He runs into his best friend, whose opinion, as Tommy is well aware, is insanely important to Buck, and he was not prepared to run into him in the middle of said first date. So he panicked and made things awkward. In other words, he acted like Buck.

'look, Evan I think you're adorable, but you're clearly not ready'

The context is: After Buck's nerves get the best of him, and, again he acts like Buck, Tommy had the opportunity to grant him the grace he obviously didn't get when he himself came out. Instead he called an Uber and left Buck standing alone on the restaurant's curb. (No one in that scene was trying to 'force' Tommy back into the closet. That take is super gross and the definition of overreaching to force a narrative).

'mm okay so not like that'

The context is: This is just Buck also being Buck, and wanting to fix something he thinks he messed up. He wanted to try again so he called and asked to meet. He messed up the coffee order. And this was the way they worked Tommy into the bachelor party.

' they had Henley's in the 80's'

' who are you all supposed to be, The Wedding Singer?'

The context is: Tommy shows up to Chimney's bachelor party (he gets props for showing up at all, it was nice of him). Buck had told him the theme, but Tommy chose not to participate in the costume part. The context for the Wedding Singer line was to point out that not only was Eddie dressed on theme, he actually coordinated with Buck. Then the writers wanted Tommy away from the bachelor party so they sent him to fight a fire. The rest of the bachelor party was a deliberate parallel to the story Eddie would later tell Christopher about the day he met his mother. Buck and Eddie separated themselves from their friends and spent the entire night talking and hanging out with one another. As it turns out, paralleling that story was the entire point of the bachelor party.

'sorry I'm late, that fire was a beast'

The context is: they needed a second kiss and something else 'light' to put in the ending song overlay. They also needed a way to allow the group at large to find out without Buck having to tell everyone individually. Thus making Eddie the only one Buck intentionally came out too. They made a point of showcasing Buck's parents and Eddie's reaction to this. And Hen confirmed she knew he was queer all along.

'well enjoy it while it lasts'

The context is: Buck and the group involved in the cruise rescue were given medals for their efforts. Buck was, once again being Buck, and wanted to soak up the attention, because Buck has a praise kink, but Tommy wasn't interested in playing along.

'well I certainly hope so' (daddy kink joke)

The context is: The audience had just spent the previous 45 minutes watching the man Buck considers his dad basically die, and Buck wanted to talk about it. When he attempted to start the conversation, Tommy turned it into a daddy joke.

The scene context doesn't help him, anon. When you provide the scene details it actually makes him look even more like a plot device. And makes the obvious Eddie of it all even more apparent. But ask for context and receive it. You're not very good at this are you?

I know Nonny! They should know by now that they're fighting a losing battle. They don't seem to get the context of what will happen when they send passive-aggressive messages like this to Ali. :b

She is lethal with words. :)

I don't think this needs any additions, so I'll just shut up. LOL!

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

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If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[greyborn2]

Elisif headcanons now! (friendly tone ofc <3) Why do you think she would be a good marriage candidate? I'm curious :)

Yesssss!!! Okay - so this boils down to two categories. Personal interest in it, and underrated narrative JUICE. Starting with the former because its easier to begin with. So Elisif is just... she's neat. She's simultaneously one of the most politically important people in skyrim while also being COMPLETELY overshadowed by the men around her (Nobody talks about her, really, they talk of Torygg. The civil war isnt her vs ulfric, its TULLIUS vs ulfric. Her own decisions in court the first time we even see her are seemingly overruled on a dime by her own court, by Falk.). Its like she's this big thing of incredible importance and is constantly hidden away both in narrative and in game. But despite that, if you actually sneak in a bit, ignore all the big figures standing in front of her and propping themselves up on top of her, she has a surprising amount of meat to her.

Most of the Jarls are like... a few word summary at best. Greedy idiot boy, honourable honorman, paranoid bigot, old seer, etc etc etc. You get an initial impression of them and thats kinda it. Ulfric has a lot more, obviously, because he's a major character but it would *SEEM* that Elisif should be on the lower end of content. It takes so much to seek her out in her overshadowed little corner after all, but she has so so so much surprising stuff around her. The necromancer potema plot revolves around her, a whole big dialogue tree that isnt super common to see for a jarl, some touching personal quests that go into detail about how she saw her late husband. Its just all super compelling to me to have a character that, despite being so important, is *soooo* hidden away actually have some meat to her. Plus she's just a nice person!!! ANYWAYS!! PART 2!! The JUICE!!

For starters, I think, there should just be more opportunities for the dragonborn to play the political game if they want. Beyond just choosing a side in a war or ticking off their 'thane of everywhere' list, actually getting in on climbing the ladder and enmeshing oneself with the politics of the land they're in. BUT BUT... same can be said for Ulfric. Absolutely true. I do think he should also be a marriage candidate. BUT...

I think Elisif PARTICULARLY makes sense as a marriage opportunity that isn't one you seek out, but one that is put forward to the player. Specifically with an Imperial victory in the civil war.

The war is won. Alduin MAY or MAY NOT be slain. But either way, no matter what, at this point the dragonborn is a war hero, a champion of the people, and decorated imperial legate. And this would be fucking FRIGHTNING, I think, to the politicians back in Cyrodiil. There's a *history* of war hero dragonborns, popular with the people, turning on their commanders and declaring themselves emperor afterall. Oh boy is there a precedent. Suddenly they're the big figure in a war that was supposed to be Tullius' duty and they might start sweating in their boots a little.

SO... after the war is won... the legion starts... pushing. Just a little. A few letters, a few comments, that the dragonborn should maybe marry Elisif. Become High King by marriage. Lock them in and satisfy the war hero with a political title off in the ass end of the empire before they turn their gaze toward a ruby throne. Don't give them time to think on it. Ooooh look tasty treat right here shhhh dont think yes you did very good dragonborn yes yes be high king.

I think from there it could go one of three ways;

1) Last Dragonborn marries Elisif but with her actually agreeing to the union (after completing her personal quests) and she FINALLY steps out of the shadows. Rather than the expected you using her for power, she uses YOU for power. You allow yourself to be the thing she props herself up on and finally really starts coming into public view. Maybe to the nervousness of the Empire as she's a less eager puppet then they might have thought, now.

2) Last Dragonborn falls right into the trap the empire placed. You didnt do the quests for Elisif, she remains in the shadows, there's a loveless marriage and you get to be satisfied with a big title that hopefully keeps you occupied.

3) Last Dragonborn refuses all of this. Things seem to proceed as they do in canon but... well... maybe you notice a few more non-DB assassins using imperial weapons attacking you on the road then you did before. Curious.

[zukkacore]

"Why do you like Starbreaker?"

me, internally: The themes introduced by Porter's godhood and Jace's servitude toward him are genuinely interesting. So much of Junior Year concerns itself w/ fairness n personal autonomy n devotion n worship n making your own meaning. The idea that Jace and Porter "have always been a duo" n the fact that Brennan has been holding onto this reveal since SY means that Jace was retooled to exist FOR porter. Porter's quest for godhood eclipses anything else that could have mattered about jace, his purpose becomes serving Porter on both a textual n meta level. On both levels he is contorted into someone alien to himself. Even though he is a character with few lines, Jace's voice in freshman year compared to Junior year feels distinct, he sounds younger, he sounds like he's looking for connection, he honestly sounds like a pretty recent hire, and in that context is it not pitiable what happened to him? Does that not make him similar to Sandra Lynn, a young person who was exploited by someone older than her and who uses religion as a tool for control? And yet the tone over and over again treats him with ambivalence in a world that is obsessed with fair. The text over and over again wants to reiterate this idea of characters getting to make their own meaning, but what does it mean to be a sequel to someone else? To be a footnote in their vision? Jace's life is a decision a GM made, he is Porter's sequel on a textual and meta level. He is continually denied interiority within the text (perfect example is sophmore year where teachers are not allowed to be hirelings when Jace is proposed than an immediate workaround is made for Gilear to come with the Bad kids). He never had a choice but to be a follower to the god of war because the other option was deathly silence, a prop or a martyr like Lucy or Yolanda. Is being remembered fondly and uncomplicatedly despite your flaws but being deathly silent better than being corrupted? The question of Jace's motivation is continually left unanswered n in that, part of the Starbreaker thought experiment is wondering how exactly Jace slots into this Plan, into Porter's life. He could simply be a lackey, sure, but is being forced to be a lackey for a god not in a way its own form of worship? To imagine Jace's subservience to Porter as a kind of love, a kind of toxic old man yaoi if you will, is maybe a way to play at a world where he gets a sense of purpose, or some kind of love in return, even if that life is fucked n compromised n broken, because he was asked "do you want this life" n he said yes. What does it mean to be a person who is contorted into villainy without a choice when the very undercurrent of your world is telling everyone else "there's always a choice!"? When the text condemns you for evil if you only ever can exist as a tool? Before Porter became Jace's world, he was practically egoless, no matter what tone his dialogue takes on. Every scene he's in, he's w/e the situation demanded of him, taking up no oxygen in the room w/out even a memorable gimmick to make him distinct n funny. Pure function. It wasn't a big life but it was his. Was wanting to live, being content to be a footnote to the Bad Kids the sin that condemned Jace stardiamond? Or was wanting to live even if he no longer was recognizable to himself the sin that condemned him? Or is it the fact that he enables cruelty, and is that fair when characters who are horrible in their own ways get a pass as long as they are fun and funny and memorable? Is his life better now that he is more of a presence in his cruel and twisted but albeit slightly more memorable state, if his life now condemns him to be hated forever? Does Jace get power from his deal with Porter? Is getting a time in the spotlight of the narrative its own form of power? Is Jace happy serving Porter? Would Jace be happy loving Porter? Did Porter give jace new life by destroying the old jace, by making sure all paths lead straight back to him? Is Starbreaker just our way of trying to say imagine Jace Stardiamond happy?

what I say: haha idk toxic co workers fucking is hot