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jordynclover · 2 years ago

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Bleeding Heart-Chapter Sixteen

Hershel was brought into a cell and quickly moved onto a bed while Daryl and I stayed in the entrance; Daryl had his crossbow raised, and I readied my katana as the men came sauntering inside the room.

"It's far enough," Daryl said, keeping his eyes trained on what I assumed was the ringleader. "Cellblock C. Cell four, that's mine, gringo. Let me in." The man replied and stepped forward, and Daryl re-trained his bow on him to show he was serious.

"Today's your lucky day, fellas; you've been pardoned by the state of Georgia. You're free to go," Daryl responded, not taking his eyes off the man. "What you got going on in there?" The man pointed to the cell block. "Ain't none of your concern. Daryl spat. "Don't be telling me what's my concern." The man replied, pulling his gun.

"Chill, man. Dude's leg is messed up. Besides, we're free now! Why are we still in here?" another man interjected; Daryl and I didn't flinch. "Man's got a point." Daryl said, looking to the ringleader, "Yeah, and I gotta check on my old lady." Another man butted in.

"Group of civilians breaking into a prison you've got no business being in got me thinking there ain't no place for us to go!" the ringleader spat at Daryl. "Why don't you go find out?" I spat, and the men looked in my direction.

"Hey, don't even look at her," Daryl yelled, stepping in front of me. "Maybe we'll just be going now." a man said. "Hey, we ain't leaving!" The ringleader yells and points a gun at Daryl.

"You ain't coming here either!" T-dog yelled as he and Jackal came in and aimed His firearm between the men. "Hey, this is my house, my rules; I go where I damn well, please!" The man yells as Jackal comes to stand by me.

"I ain't gonna tell you again; Don't take another step," Daryl said, stepping up to the ringleader. "Or what" The ringleader responds. "I'll beat you down," Daryl replied. "I'd like to see you try," the man answered.

"I'm tired of your mouth," Daryl sneered at the man. "What don't you come over here and shut it." Loudmouth replied, "There ain't nothing for you here. Why don't you go back to your own sandbox" Daryl yelled as rick came in.

"Hey, hey, hey! Everyone relax; there's no need for this." Rick yelled as he entered the room. "How many of you in there?" Ringleader asked. Jackal tapped on my shoulder. "Come here," He said. I looked back at the prisoners and followed Jackal to the door, where Carl unlocked it.

"Can we use our blood?" Jackal asked as we walked to Hershel's cell; I paused for a moment sheathing my katana, and looked at him and then at Carol, who was trying her best to stop the bleeding.

"What do you mean use your blood," Glenn asked, walking over to us. "As Jackal did on T last night when will threw the cross at him, our blood heals, but there are variables; in this case, I don't know," I replied, looking at Glenn.

"What is the risk," Glenn asked, crossing his arms. "Well, one risk would be possibly speeding up the virus and killing him instantly since we don't know how the virus works with vampire blood; Jenner couldn't even figure it out," I replied, putting my hand on my head.

"Jenner knew you were a vampire," Glenn asked, uncrossing his arms and stepping closer to me, and I nodded. "Yeah, I tried compelling him, but that didn't work. However, he pretended it did and then injected me with a paralytic and took my blood," I replied, shrugging.

"Is there any chance it will work?" Glenn asked, looking at Hershel and then back to me. I nodded slowly. "It might heal him enough for his body to take over the rest, or at the same time, we could end up with a vampire walker; it's a fifty-fifty chance Glenn."

"Ask Rick; he would know what to do" I nodded and walked back to the door, where carl smiled and let me out. The room Rick and the rest were in was empty, but the door leading outside was open; I sped up the stairs and stopped behind Rick.

"If I was to kill you, shoot an arrow in your chest, you come back as one of these things. It's gonna happen to all of us." Daryl said to one of the prisoners.

The prisoners jumped as they saw me. "Where the hell did you come from," one asked, and I chuckled. "How about you worry about where you're sleeping tonight, inside of where I came from," I replied and looked at Rick.

"Jack gave me an idea to help Hershel, it's risky, but it might just work." Ricked looked at the prisoners and then back to me as Daryl came up beside him. "What is it" Rick glanced at Daryl and then returned.

"Jackal wants me to give him my blood since vampire blood heals," I said, and Rick and Daryl exchanged a look, "Heals, what do you mean heals," Daryl asked. I sighed, grabbed my dagger, sliced my hand, and showed it to them.

They watched as the wound closed, and I wiped the blood on my jeans and showed them my hand; not even a scar remained. "So what is the risk" Rick questioned, still looking at my hand.

"Ether it would kill him faster by speeding up the virus, then we would have a Vampire zombie on our hands, or it would heal him just enough to let his body take over and do the rest; Glenn told me to ask you and see what you thought," I replied.

"Daryl, take my cuffs and go with her; lock Hershel up just in case; T-dog and I can take care of these guys," Rick replied, looking back to the prisoners as Daryl grabbed the cuffs and we walked back to the cell block.

Carl let us back in, and Jackal and Glenn met us at the door as Daryl walked into the cell, Telling beth something about a precaution. "Rick said to do it," I told Jack and Glenn; they nodded as we stepped into the cell.

Maggie, Beth, and Lori stepped out with Glenn, and Jackal stepped in with Carol, Daryl, and me. I paused, knelt down, put my hair behind my ear, and listened for Hershel's heartbeat. It was slow, but it was there. "His heart rate is slow; how's the bleeding," I asked, looking at Carol.

"He is bleeding through everything" I nodded and looked back to Jackal. "I want you here with a stake at all times until we know he will pull through," I directed, and Jackal nodded. "You got it," He said and headed out of the room, coming back with a piece of wood.

"Let's do this," I mumbled and felt my fangs lengthen; I bit my palm, drawing blood and putting it to Hershel's mouth; blood dribbled down his chin. "I need a syringe; it's not working like this," I said, and carol bent down, pulling out a black bag and grabbing one out of it.

"Where did you get these," I asked, taking it from her and opening the sterile wrapper. "Carl cleared the infirmary," she replied, applying pressure. "Did it work?" Rick asked, stepping into the cell behind us.

"We're trying it now," I replied, sticking the needle in my arm and drawing out blood; I pulled the needle out, took Hershel's arm, and slowly stuck the needle in. "here goes," I replied and pushed the blood in his arm.

I pulled the needle out and laid it on the ground, "Look at the bleeding; see if it stopped," I said, looking over to carol; she pulled the rag off and shook her head. "He's still bleeding, maybe not as bad," She replied; looking up at me, I shook my head. "That could be his body fighting off the virus," I replied, looking at Hershel.

I turned and looked at Rick. "I did all I could do; it's up to him if he pulls through or not," I said and walked out of the cell to the stairs and sat on them. Daryl stepped out of the cell and walked toward me "come on," Daryl said and stepped past me, walking into the cell we were in earlier that morning.

"Rest; I'll be here later," Daryl said as he hugged me. I nodded, laid my katana on the ground, and got on the bed; I put my hands under my head and closed my eyes, and before I knew it. I fell asleep.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Sybil, wake up, Hey." A voice said, shaking me; I opened my eyes and groggily sat up; Glenn smiled. "Hershel is up." I smiled. "Oh, that's good," I replied, sitting up, "What time is it," I asked, standing up and stretching.

"About eight in the morning," Glenn replied, looking at his pocket watch. "I slept all night?" I said, shocked. "Yeah, Daryl went hunting this morning; he should be back soon," Glenn replied, and I nodded. "Come on, let's go see Hershel," I said and walked out of the cell.

Hershel hobbled out of the cell as Glenn, and I walked downstairs. "You have fun. I'm on fence duty; I'll see you later," Glenn said and headed past me and out of the room. "Looking good, Hershel," I said, walking up to him.

Hershel chuckled. "I should be thanking you; Glenn told me what you did" I shook my head. "I don't think me giving you blood had anything to do with your healing," I replied, smiling.

"How are you so sure," Hershel asked. I paused, "Vampire blood can fix many things, but this is new; there's a chance that my blood did nothing for you because the virus might be mutated, and it cancels out the healing properties of my blood," I replied; trying to make sense of this myself.

"Come on, let's go for a little stroll," Hershel said, twisting his head to the door, and began hobbling towards it; Lori was behind him, steadying him, and I laughed. "Yeah, let's go. I responded and followed everyone out.

"You cleared all those bodies out? It's starting to look like a place we could really live in." Hershel said as we entered the courtyard, "Hey, you watch your step. "Last thing we need is you falling," I said, putting my hand on Hershel's back.

Cheering from the fence made me look up; Glenn, Rick, Jackal and Daryl stood watching us. "You're doing great, Daddy," Beth said, smiling brightly. "Ready to race, Hershel?" Carl asked, joking, and Hershel looked at the boy. "Give me another day. I'll take you on." Carl laughed at Hershel's response.

"Walkers! Look out!" Carl yelled, and we all turned around; a herd of them was in the courtyard and heading our way. I grabbed my daggers, throwing one and killing a walker closest to Hershel as Beth opened a door and tried to get her dad inside.

"Lori! Sybil! Here!" Maggie yelled, opening a door that led to our cellblock. Maggie, Lori, Carl, and I ran down the stairs to enter our block but were cut off by walkers; we turned around and headed down one of the corridors. Maggie shut the door behind us, preventing any walkers from entering.

"Can you keep up?" Maggie asked Lori as she braced herself on the wall. "Something's not right." Lori mumbled, "Are you a bit?" Carl asked as he walked over to his mother. "No, no, no." Lori frantically said.

"I think the baby's coming." She said, making eye contact with maggie and me. "Mom?" Carl said as walkers came around the corner ahead of us. "No, there's no time! Turn back," Maggie yelled as we grabbed Lori, and Carl led the way.

"In here!" Carl yelled as he opened the door and let us inside, shutting the door behind him. Carl checked the room to make sure it was clear as Maggie and I walked Lori down the stairs.

Lori grimaced in pain as she grabbed a chain that hung from the ceiling, steadying herself as the alarm blared overhead. "What are those alarms?" Lori asked, and she dropped the chain, and maggie and I stepped closer to her. "Don't worry about it," I replied, looking at maggie.

"What if it attracts them?" Carl asked as Lori caught her breath. "Lori, let's lay you down," I said, grabbing her arm as Lori shook her head. "No, the baby's coming now," Lori breathed.

"We have to get back to our cell block to have Hershel help," Carl said, scared as maggie and I shook our heads. "We can't risk getting caught out there," Maggie said, looking at Carl. And then turned to Lori.

"You're gonna need to give birth to this baby here," Maggie said, and Lori nodded. "Great," Lori responded and held her breath at another contraction.

"What is she doing? Can't she breathe?" Carl asked worriedly. I shook my head. "She's fine," I said, looking over to carl.

"Come here, let's get your pants off," Maggie said, unzipping her pants, and I helped her lay on the ground. Another contraction hit Lori, and she screamed in pain; Maggie looked over at Carl as I wiped Lori's forehead.

"All right, let me see if it's dilated," Maggie said as she pulled off Lori's pants. "Okay." Lori breathed as I held her hand. "Do you know how?" Carl asked, "Dad taught me, but trust me, it's my first time." Maggie replied.

"I can't tell," Maggie said, and I looked over at her. "Let me try," I said, switching places with maggie. I had done this many times before; I slipped my fingers inside Lori and felt around; I then looked over at maggie. "She's a six," I said and pulled my hand back.

"I gotta push." Lori huffed as she sat up, and I shook my head quickly. "Lori, you can't," I responded and looked at maggie. "I gotta push." She replied again. Lori stood up and began pushing against better judgment.

"Somebody!" Lori yelled, losing her grip, and I grabbed her arm. She quickly took a breath and repeated, "I'm okay, I'm okay. I'm okay." she looked over at me, and I nodded "you are Okay; breathe, Lori." I said, holding Lori's hand.

"You're doing great, Lori. Your body knows what to do. Let it do all the work." I said, encouraging to the best of my abilities. Lori screamed and squeezed my hand. "You're doing great," I said as she bore down and groaned.

"Lori, don't push stop. Something's wrong." Maggie said as Lori screamed and pushed again; I looked at maggie; blood was dripping from her hand. Maggie and I laid Lori on the ground. As carl dropped down beside us.

"Mom?" He said as he got closer. "Mom, look at me, look at me. Keep your eyes open." Carl cried, "We have to get you back to Dad." Maggie said, looking at Lori. "I'm not gonna make it," Lori replied, taking Carl's hand in hers.

"Lori, with all this blood, you're not fully dilated yet. No amount of pushing is gonna help." Maggie said and looked at me, "I know what it means, and I'm not losing my baby. You've gotta cut me open." Lori said, looking at maggie.

"No. I can't." Maggie replied and looked at me. I nodded, and she moved. "I dropped my dagger in the corridor," I said, looking at maggie. "Carl has a knife." Lori interrupted, and I looked over to carl, and he handed me the knife.

"You won't survive," Maggie said, crying, holding Lori's hand. "My baby has to survive," Lori replied and gasped as the pain hit her again. "You see my old C-section scar?" Lori said, breathing through the contraction.

I nodded and grabbed Carl's knife. "Can't you give her your blood or something that way? She doesn't die," Carl asked, and I shook my head. "No, if I gave her blood and then made the incision, it would heal her immediately; I would never get the baby out in time," I said sympathetically.

"Carl?" Lori began and held his hand tighter. "Baby, I don't want you to be scared, okay? This is what I want. This is right. Now you, you take care of your daddy for me, all right? And your little brother or sister, you take care," Lori said shakily.

"You don't have to do this." Carl interrupted, tears rolling down his cheeks. "You're gonna be fine. You are gonna beat this world. I know you will. You are smart, and you are strong, and you are so brave, and I love you." Lori said, looking at her son.

"I love you too." Carl replied, "You gotta do what's right, baby. You promise me you'll always do what's right. It's so easy to do the wrong thing in this world. So if it feels wrong, don't do it, all right? If it feels easy, don't do it. Don't let the world spoil you. You're so good. You're my sweet boy. The best thing I ever did. I love you. I love you. You're my sweet, sweet boy. I love you. Okay, okay, now." Lori cried as she pulled Carl into a hug while maggie and I cried beside her.

"Sybil, when this is over, you're gonna have to" I nodded. "Hush now," I replied. "You have to do it. It can't be Rick." I nodded as a sob finally escaped me. "It's all right. It's all right. Good night, love." Lori said.

"I'm sorry," I said as I brought the knife across her stomach, and loir screamed in response, "What are you doing to her?" Carl yelled; as I cut the muscle, Lori shuttered and passed out from shock.

"Maggie, give me your hands," I said, looking over at her. She seemed to be in a trance," Maggie, please." I repeated, bringing her back to reality. "You should keep the site clean, okay? I cut too deep; I'm gonna cut the baby." I said and concentrated on the task.

"Okay, come on... I see it. I see the ears. I'm gonna pull it out. I can't tell if this is the arm or the leg." I said, scrambling. Finally, I found a shoulder. "I'm gonna pull the baby out," I said, getting a good grip.

Blood and fluid spilled as I pulled the infant from Lori's unconscious body, "It's a girl," I mumbled and flipped her over and began patting her to get a cry; Carl gasped as the baby cried.

Carl handed took off his jacket as I cut the cord. "We have to go," I said, standing up and wrapping the baby in the coat. "We can't just leave her here. She'll turn." Carl said, looking at his mother, whose heartbeat had long since gone

Maggie took her gun out and looked at Carl, who shook his head. "No," Maggie exhaled. "She's my mom," Carl replied and took out his gun; Maggie and I nodded and walked out with the baby, hearing a gunshot as we left.

I pushed open the caged door into the courtyard, and the infant cried, getting Rick's attention, "Where, where is she? Where is she?' He stammered as he walked up to Maggie Carl and I sobbed quietly as Maggie tried to say something but choked up.

Rick began to go past us, and Maggie stuck out her hand. "No, Rick, no!" Maggie sobbed as Glenn made his way toward her and Daryl toward me. "Oh, no. No!" Rick cried as he looked at his son, who had a blank face.

Rick fell sobbing as Daryl pulled me into a light hug, and I sobbed into his chest; He rubbed my back as I did, and the sobs wracked through my body as nothing had before.

Everyone felt the pain of loss that faithful day.

Next Chapter

#twd #twd fanfiction #twd daryl #twd fanfic #twd fanfics #daryl dixon #the walking dead daryl #daryl fanfiction #daryl dixon fanfic #Rick Grimes #Norman Reedus #Andrew Lincoln #the walking dead fic

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wishfulstargazer · 1 year ago

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The InterDimensional Journey; Chapter 3: Writer

“Nate Ford is not a killer! I created the character and I stand by that one hundred percent!” one man was yelling at another.

“You created the character, sure, but he’s developed! That character has been associating with liars and cheaters and thieves and criminals for almost four seasons now–he’s going to have a different take on ethics than Nate Ford the insurance investigator.”

“Nate never wanted to be a criminal. At heart, he’s a law and order type. He’d rather work within the system to change things–he just got derailed by the utter brokenness of our society…he’s not going to kill people.”

“Even people who killed his father?” A woman interjected between the two men. “That’s a pretty compelling reason to want vengeance. They blew up Jimmy, almost right in front of him…”

“And he’s not the type to go to grief counseling and spend his time navel-gazing over his pain,” the second man continued. “C’mon, Chris,” he appealed to the first man, “he’s more likely to down two shots of whiskey and start making a plan.”

“Indisputably true,” Chris acknowledged, and the second man, looking triumphant, opened his mouth as if to make a further point. “Not so fast, John. He might make a plan, but do you really think Nathan Ford isn’t making a better plan than shooting the guy in the face himself?”

“He wouldn’t ask Eliot to do it for him, that much goes without saying,” the woman said. “I get what you’re saying though. It would be out of character for him to just take a gun and blast away. He’s the mastermind for a reason.”

“Thank you, Rebecca,” Chris said. “I agree. So, what kind of a plan do you think Nate Ford would make?”

Nate decided it was time to interrupt. “Why don’t you just ask me?” he interjected.

John looked up, saw Nate, and sighed. “Tim, we’ve been over this before. Let the writers write. You’re the actor. WE don’t tell you how to act…”

“I–excuse me, um, I beg your pardon. I’m not an actor at all,” Nate corrected. “I was an insurance investigator and now I’m–” he glanced at the rest of his team– ”independent.”

“I’m the actress,” Sophie interjected with a smile. “Sophie Devereaux and it’s lovely to meet you all. You’re scriptwriters, I take it? On Broadway or off?”

“Gina,” the one called Chris said. “Are you guys doing some kind of method acting workshop again? Because the last one had Beth demanding eleven kinds of sugary cereal from craft services and they almost went on strike… We can’t afford another delay in filming, so all of you get back to your trailers and let us get this script ironed out.”

“Who are Gina and Tim and Beth?” Nate asked.

“Give me a break, Tim,” John groaned. “Look, we still haven’t agreed on whether you’re going to kill Dubenich and Latimer. You’ll know when we know.”

“Why would I kill Victor Dubenich when he’s still in jail? And Latimer is a wart on the face of humanity but I've already got a plan to take him down, too,” Nate said, puzzled.

“Well, but after they killed your dad…”

“Dubenich and Latimer KILLED MY FATHER?” Nate roared. “Who are you people and how do you know this? When did they do it?”

“Tim! Tim! It’s just a TV show. Would you please calm down! And what are all of you wearing, anyway? Gina, can’t you do something with him?” John pleaded, looking straight at Sophie.

“I don’t know who you think we are,” Sophie retorted. “But I’m not acting when I do this,” and she walked up and slapped him across the face. “Nate has had a VERY DIFFICULT several days and now you are upsetting him!”

John rubbed his rapidly reddening jaw. “Actors!” he spat out. “Always the drama with you people. I don’t have to stay here and be assaulted, Chris. Call me when she’s ready to apologize and you’re ready to work this out like adults.” He stalked out of the room.

…..

Sophie looked after him. “Well good riddance to a very unpleasant man,” she said, satisfied. “Now, Chris–it is Chris isn’t it? What seems to be the issue that’s generating such heated discussion here? As an actress, I feel that I’m uniquely qualified to assist my writers, if they’re in some kind of tangle.”

“Gina, not now, okay?” Chris was scanning notes on a clipboard, occasionally stopping to scribble something illegible in the margins.

The woman called Rebecca turned to Hardison. “Aldis, I don’t know what’s gotten into Tim and Gina, but please, I know you and Beth aren’t looking to get reputations as difficult to work with, especially not at your age. The two of you could do anything after the show…anything at all. Would you please help me with them?”

The other woman in the room nodded silently, but her eyes were locked on Eliot, who smiled at her pleasantly. “Christian,” she finally said to him.

“What–me?”

“Yes, Christian, another point came up we were hoping you’d clarify for us. Are you still wanting to do all your own stunts? Because the ones in this ep might be problematic, according to our insurance company.”

“All my own stunts? Ma’am, I don’t know who you think I am, but I can take anything y’all can throw at me.”

She nodded again. “Okay, I’ll advise the lawyers.” She gave him a little grin. “What would they think of our relationship, then, I wonder.” She winked slyly. He chuckled and winked back. She left the room.

“Nate what IS this place,” Sophie heard Parker whisper. “It looks like home but these people are weird.”

“They’re writers, dear,” Sophie muttered. “They’re really only aware of reality half the time, don’t you know.”

“Oh, okay, then,” Parker answered. Then, after a pause. “Do you happen to know when that time is going to start?”

“Look, Gina, Tim, Beth, Aldis, Christian,” the man everyone called Chris said. “You know I love you all. You know that I respect what all of you have done with your characters. I’m not going to let anybody, no matter how talented, write you out of character. But having you here is just ratcheting up tension for us all when we need to get this done. Will you just let me call Dennis and have him drop you each back off at your trailers while we work it out? You can trust me.”

Sophie started to object, then thought better of it and nodded. They needed some privacy to figure out what exactly that bloody portal had dumped them into this time. Besides she’d never had a trailer of her very own before and she wanted to see it. “Guys, let’s leave Chris to it, then. Chris, you know we’re putting our fate in your hands. Let us know when you’re ready for a read-through. Come on people.” A thought occurred to her. “How will we recognize Dennis?”

“He’ll be driving the golf cart, Gina.” Chris looked worried all of a sudden. “You didn’t hit your head today, did you?”

Or begin at chapter one:

@augustwritingchallenge

#leverage fanfic #fluff and feels #fluff and humor #alternate universe #sophie devereaux #parker leverage #alec hardison #nate ford #eliot spencer #soft science fiction #fourth wall #au gust 2023

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cannoli-reader · 2 years ago

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I cannot emphasize enough the importance of “Let’s do it.”

Prior to post-World War 2 psychological studies, human beings cannot just attack other people with lethal force without a compelling personal reason, and maybe not even then. It had long been observed that it’s hard to make infantry soldiers attack each other, with only about 20-30% actually managing to fire at the enemy in any given fight. In the Civil War, muzzle-loading rifles were found with multiple bullets loaded in, where the soldier had simply loaded the gun, pointed it, and then re-loaded without pulling the trigger. It was believed that the soldiers were mindlessly going through the drill motions by rote, but following the combat studies 80 years later, experts now think they simply could not bring themselves to shoot. Part of the remarkable success Western soldiers have experienced since WW2 against soldiers from developing nations, is because this tendency has been overcome in training. By the Korean War, we had 50% of troops fighting, and 70% by Vietnam. By the 1990s, the percentage of troops who could not overcome this instinct was in the single digits. But these are adults, who have been through advanced infantry training.

Meanwhile, it was observed that a lot of situations where previous theories would have indicated military personnel would have a traumatic response to danger, did not. Sailors on ships, artillerymen, air crews, prisoners of war when their camps were bombed or shelled (the guards, on the other hand, would experience trauma and shock) are examples. Terror bombing was projected to be effective based on the response of troops in the trenches in World War One, but in World War Two, civilians bore up amazingly well. This is often attributed to some uniquely British quality of pluck or something, but German and Japanese civilians were much the same, in the face of much more serious and prolonged and repeated bombings than the Blitz. It is theorized that the trauma of combat is actually due to the prospect of having to take action in response, to attack and kill. The soldiers in the trenches panicked when they were bombed, as did the guards in POW camps, because they felt the pressure to fight, whereas civilians and prisoners did not.

Likewise for crews of combat vehicles and vessels. The immediate visceral feeling was that they were simply operating machines and not actually attacking other human beings. Even when they could directly correlate their actions to seeing a “kill” against the enemy, it would usually be another machine that took the hit.

A more direct application of this phenomenon is in firing squads. Soldiers in a firing squad were often told that one of their rifles was loaded with a blank round, so each man could tell himself that he had fired a blank and not actually been responsible for the kill. A squad was used instead of an individual to also spread out the responsibility. Usually, the commander of the firing squad would also finish off the victim with a pistol shot to the head. This way, the squad could see that someone else ultimately ended the victim’s life, while the commander could tell himself that the squad had dealt the mortal wound, and his own shot was merely ending the victim’s suffering. Incidentally, blindfolds were not to spare the victim the sight of his killers, it was to spare the riflemen from having to look their victim in the eyes, and prevent the victim's emotional reaction to the volley from showing.

What this boils down to is that it is really hard for people to kill other people, and are best able to if they can rationalize away the responsibility, or mentally distance themselves from the act, by transferring the guilt to others, to a machine or their superiors. PTSD, combat fatigue, shell shock are all terms not for a fear response to danger (this is not to deny the trauma of those circumstances, merely to note that it is a different kind of trauma), but from violating one’s own instinctive reluctance to kill.

In short, Rachel’s habitual proclamation of “Let’s do it” before going into action, may have become a psychological crutch for the other Animorphs, a way of separating themselves from what they were about to do, and rationalizing away the responsibility. Subconsciously, perhaps they are thinking something like “Rachel loves the action, she’d be diving in if I wasn’t here, she’s not afraid like I am. Therefore all I am doing is helping, this killing and horror is not on me, Rachel is proof that it would be going on anyway, I’m just helping make the situation get resolved faster, this helpless alien puppet I am eviscerating would be dying anyway under Rachel’s paws, it’s probably more merciful what I am doing...” and so on.

It’s not perfect, it’s not 100% effective, they suffer their share of trauma from what they have to do, but Rachel’s battle cry is what officially opens the combat in their minds, creating the impression that it’s Rachel who starts the fights, that Rachel is responsible for the bloodshed in some ways. The two most traumatized Animorphs by the end are Rachel, who doesn’t believe she deserves to live any more and that she can’t turn down a suicide mission, and Jake, who, as the actual leader, did have a degree of responsibility that he could not put off on Rachel. Next is Marco, whose self-image included a degree of ruthlessness, who was conscious of a willingness to make moral tradeoffs and lives. By contrast, Cassie, the moralist, is coping relatively well, despite arguably having the most to be ashamed of, as her giving up the cube led directly to most of the casualties in the end (and the rationalizations of people who loved her, that her actions inspired the Living Hive to turn against the Yeerks for morphing powers themselves with pure nonsense - did they really need their allies suddenly getting morphing powers to think of going nothlit, when they were led by one?!). Tobias as well, does not show as much trauma, despite his more extreme actions. He is simply rejecting the society in which he no longer fits, and the group of people who let him down. Tobias and Cassie did not have the active goals Jake & Marco did, they just wanted to protect their friends, and the world. That’s a passive goal, and as long as their friends and the planet are still there, they are doing okay, whereas for Jake and Marco, every day that Tom or Eva has a Yeerk in their heads is a failure, and a spur to do more. Rachel, by temperament, was more inclined to embrace the fight (remember the natural stat - 20% or 1 in 5 were capable of fighting without conditioning to overcome their instinctive reluctance) from the beginning, and when it became clear that she had a better stress-coping capacity than her teammates, she felt the drive to protect them by taking things on herself.

Rachel’s whole schtick in the beginning of the series is trying to seem tough and brave and then everyone believes her and she’s stuck with it and she’s like ‘hm. don’t like this actually.’

#animorphs #I have no idea if this is deliberate #or just KAA subconsciously writing observed reality

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themrsackerman · 4 years ago

Text

Angel of Paradis

Pairing: Levi Ackerman x Reader

Warnings: Spoilers from Season 4. Mentions of gun violence, blood, death

A/N: Now I know EP8 is only the beginning of the end but goddamn it hurts!! I love potato girl and losing her just tore me to bits. So here, take this. Its my way of coping I guess..

Levi is pissed off. From the start, he disliked the plan but it wasn't like Eren gave you all much of a choice. So the moment the kid got on the airship, he was welcomed with one of the captain's infamous kicks. The cockpit wall quakes with the impact and Hange sighs, shooting you a look. "I think you need to get out there and make sure Levi doesn't kill Eren, Y/n." She says exasperatedly and you nod, rising from your seat next to Onyankopon.

"I'll be right back." You say and she flashes you a knowing grin, shaking her head slightly. Even the commander knows you're the only one who could reign in the Levi Ackerman.

You see Levi on the corner glaring at Eren as he was being tied up. You sigh heavily, seeing Eren steaming as he heals. Jaw probably unhinged from the captain's kick. You sat beside him on the bench and pulled out a handkerchief, wiping his face clean from dirt and blood.

"Y/n-san." He greets you monotonously and you gave him a kind smile. "Hey, kid." You greet back, tucking loose strands of his now long hair behind his ear.

Your heart aches at the sight. He used to have so much fire, had the same will to fight for humanity that you only ever saw in your mentor, Erwin. Now all you see is ember of pure hatred and cold blooded need for revenge. "I'm glad you're okay." You murmur. Eren's blank stare softens for a second and a small smile hints the corner of his mouth. "Glad to see you too, Lieutenant." He says quietly and out of the corner of your eyes, you see Levi roll his eyes and make a disgruntled sound as he turns around.

You walk up to him and placed a hand on his shoulder. Levi meets your gaze with his dull gray ones for a second and sighs, his expression softening too. At this you smile a little and say, "We still have a long battle to fight ahead of us, Captain. Things might not have gone smoothly, but we won today." You remind him and as if proving your point, right on the other side of the ship you hear the soldiers celebrate as they reunite.

"You're right." He agrees. Levi then takes a deep breath and grabs the hand you placed on his shoulder so he can bring it to his face. He turns his head and placed a chaste kiss on your palm. Your heart flutters at the gesture. It isn't grand but was still something you couldn't quite get used to. You two never declared your love for one another, never really had the luxury of time or chance to do so, but small acts like this was enough to let you know that your presence provided him the calm he sorely needs. And that was all you want. Be his peace in this war.

"I'm going to check if the rest of the squad made it back up." You tell him, grazing your thumb on his lower lip and he reluctantly lets you go. "Be back as soon as you can. Meeting will start as soon as this fucking monkey heals enough." He says, cold glare flashing at the other Jaeger who is a pile of steam still laying on the ground. "Okay, I'll just check on Lima's squad. They're the last ones to be picked up supposedly." Levi nods again and watches you leave before turning to talk to Yelena.

You smile past Floch and the other soldiers who are weeping, hugging and making their tributes for those whom had fallen in battle. You then saw three of the soldiers you've grown close with through the years. They were huddled in the corner, sharing a hug.

You hear Jean say in protest, "Dont hug people with that lump ass iron gear on.", while shrugging off Connie's arm. You chuckle at this and tackled him back to the embrace. "Shut the hell up, Jean. I would take Connie's armored hugs any day!" To which the trio whines out, " Lieutenant Y/l/n!!" when you squished them tight.

Although the new gear designed by Hange was in deed not made for hugging, you four relaxed in the uncomfortable embrace. Grounded by the fact that you all made it safe despite the battle you had just gone through. Connie and Sasha smile up at you while Jean tries to still look annoyed, although the softness in his eyes says otherwise.

The soldiers left below start coming in and the cheering just grows even louder. You didn't have the heart to stop them because you yourself are quite happy that today was a success despite some casualties. Now, you have the War Hammer titan as well and were able to destroy the fleet. Now, the Eldians' chance stands higher against this damn war.

"Did you hear that just now?"

Sasha asks out of the blue and you turn to her in wonder. Honestly you couldn't hear anything but the soldiers celebrating. But out of the lot of you, you know Sasha's sense of hearing is far superior than all of you combined. So you take a step back from the crowd and actually looked around.

"Hey, quiet down!!"Jean yells over the chanting but Floch shouts, "Make some noise! Victory!!!" And was echoed by the rest as they embraced and pumped their fists in the air.

"Hey!" Jean tries again only to be pulled by Connie to the side to ask, "Isn't Lobov-san still out there?"

"No, I think he came aboard." Jean says thoughtfully and this was when something didn't sit quite right with you. Commander Lobov is a man that is hard to miss. And with his dedication to this mission to make up for his years being a useless garrison, he would be amongst the soldiers cheering the loudest for the said victory.

Your instincts has never failed you before and its the very reason why you are so good at your job and able to survive this long. But sometimes, you wish that your instincts aren't always right because you always perceive danger. And right now, every fiber of your being is telling you something is fucking wrong.

That if you were to look out the airship right now, you'll probably see the commander lifeless.

Or worse, an enemy may have made its way up to the ship.

Your blood runs cold for a split second before you acted purely out of instinct. You shove Sasha to the side, dreading as you head for the airship's side door and at the exact moment.. someone aboards.

Your gaze met the kid's muddy brown ones. It was determined, filled with fury and you saw that there isn't any trace of hesitation as her finger pulls the trigger. You knew you didn't stand a chance judging by look on her face and her sure aim on your torso. The word of warning you want to let out was caught in your throat as she fires.

You remember seeing those crazed brown eyes and then the ceiling of the airship the next. The sensation of what can only be compared to fire piercing your skin spreads through your chest and insides like molten metal. You hear the indistinct noise of the soldiers' voices grow louder yet muffled at the same time around you.

From happy cheers to manic, hysterical screaming.

You couldn't catch your breath at first and you aren't sure from which. Was it from falling flat on your back? Or was it the searing pain that made tears leak from your eyes?

And then above the chaos, you hear your three closest comrades call your name in unison.

"Lieutenant Y/n, hey!!!" Connie's frantic voice shrill through the limited space of the ship. "Hang in there, hey!" You feel him rattle you, placing his rough calloused hand against your cheek. Jean's panic stricken face comes to your field of vision and you whimper, "A kid." You gasp. "In the airship."

"Bandages! Now! We need to stop the bleeding!" Jean commands shakily and the rest of the soldiers that aren't capturing the two intruders scramble to get the med kit and the captain.

"Y/n-san, please hold on until we make it to the island!!" Connie pleads but hopelessness crawls his veins as he sees your blood flood the wooden floors.

"Keep him safe." You whisper out to nobody. The captain in mind. Your eye lids grow heavy but you didn't want to close them. No. You can't die. You promised him.

"Don't you dare die on me, Y/l/n." His voice echoes in your mind, compelling you to keep breathing despite how excruciating it feels.

Sasha who was frozen at first, snapped out of her shock as she hears Connie's voice call your name out of sheer panic when your eyes fall close. She then runs to meet the soldier carrying the bandages and was at your side in an instant. With trembling hands, Sasha tries with all her might to wrap you up and stop the bleeding.

"No, no, no, no!!" She starts sobbing while watching the bandage turn red, your gushing blood seeping through no matter how tight she puts the wrap around you. "Y/n-san, no, you can't leave us like this." Sasha hiccups, wiping her tears hastily before grabbing your now cold clammy hand and pressing it to her face. "Please!" She cries, eyes falling close.

If you hadn't pushed her, if you didn't step in her place, it would have been her that got shot. Guilt rakes through her as she watches you desperately fight for your life.

You can feel yourself drifting and you felt helpless. You then meet Sasha's, Jean's and then Connie's gaze, muttering with your remaining strength, "Protect him." And it was no request but an order.

Jean stumbles away, his hands going over his ears, unable to stand your labored breaths and Connie and Sasha's whimpering. Jean felt like hurling when Floch turned the kids to him. The other responsible for you being on the brink of death.

But to those two kids, they are the enemies who wreck havoc to their hometown. Floch wanted to kill them and throw them out but what good would that do? Would taking their lives save yours? And knowing you, who practically treat soldiers like them like your kids even though you were just a few years older than them, you would be disappointed in him at the mere thought of hurting these kids.

Jean can almost hear your angelic voice, "They're just children." You would say. So with a vexed expression and heavy turmoil growing within him, he ties them up and led them to where the captain and commander are.

Jean swallows hard when the captain's cold gaze met his and asks, "Who are these kids?"

By the looks of it, he still does not know.

"They killed Lobov-san and used his gear to come aboard." A lump forms in his throat, suddenly can no longer meet the captain's gaze. "A-and this one here, she.. shot Lieutenant Y/l/n."

Levi's eyes widen. Did he just hear Jean correctly? You? Shot? You were with him just minutes ago. No, how is that possible?-

"Captain, I-I don't think she'll make it." He continues, voice faltering. The grievance in Jean's face make Levi's blood run cold. He stumbles forward a bit as Armin and Mikasa run past him but he seemed frozen in his tracks.

No.

You got hurt but you'll pull through this. You always have. You promised him. And you are one of the toughest people he knows.

Levi tries to convince himself as he glared back at Zeke. He tries to distract himself from the cold fear of losing you with the blinding rage he feels for the Beast Titan wielder. But then, the door swings open again and Levi felt something terribly wrong right away.

And when Connie appears with tears sliding down his face and says,

"Y/n-san.. is dead."

Levi's entire world shifts.

Everyone was shellshocked for a moment. Because how could you be gone just like that? When you were just with them just minutes ago providing comfort to all of them? Passing by and giving them a wave of peace and calmness like the angel that you are.

Hange wobbles, her knees growing weak and its as if someone had punched her in the chest. The pain reminiscent as the day she watched Moblit vanish before her eyes. You were her right hand woman. Her confidant.

Eren's head hung in disbelief. His mind clouded by your kind smile just earlier and telling him you're actually glad to see him. Him. The monster who had just devastated a whole town and killed probably thousands of people. He thought that by now, he'd have gotten used to losing the people around him but losing you is gutting him. Its was like losing family. A sister.

"Connie.. did Y/n-san have any last words?" He asks mindlessly, wanting to know what your last thoughts were. Connie blinks through his tears and his eyes drifts to the captain, whose face was undreadable and knuckles threatening to split open at how tightly his balled fists are clenched.

"She said.. 'Protect him.'" Connie mutters and Levi's facade breaks.

The mob of weeping soldiers parted as the captain staggers to the back of the ship where you lay. Armin and Mikasa were still curled up beside you, their faces red and puffy from wailing. Both of them reluctantly stood up and stepped away as he walks closer. His gaze was still trained on the ground as he puts one foot in front of the other.

He shudders and stop midstep as his foot steps on the crimson stained wood. Before he knows it, he falls on his knees with a thud. Your pale hand comes into his field of vision and he takes a deep shakey breath as he reaches for it. His eyes darts everywhere but your face. The bandage on your middle, the boots on your feet that he had his fair share of shinning as his token of appreciation for you making his morning teas, the emblem of the Wings of Freedom embedded on your breast plate.

Your hand felt cold and stiff against his. A stark contast of the warmth it exuded on his cheek just moments ago.

"Y/n?" He croaks.

Suddenly his breathing shallows as the deafening silence stretches on. He can still smell you but can no longer feel you although you're right fucking there. Levi wanted this to some fucked up nightmare. But then, as he steels his nerves and finally looked at your face, his heart shatters.

Your hair is uncharacteristically dishevelled, e/c eyes lifeless, pupils middilated and your mouth parted ever so slightly.

Levi pulls you in his arms frantically, plethora of would have been and should have been anchoring his heart into a sea of regret.

He should have never let you out the damn door.

He should have held you tighter.

He should have you talked to you longer.

He should have told you.. he loves you.

He never even got to tell you.

Levi's face crumples, face reddening before a resentful yell erupts from him. The soldiers wince at the sound. It was pure agony and it pierces through each and everyone of them, bringing the lot of them back to tears if they ever stopped in the first place.

The entire flight back to Paradis, Levi held you the way he wished he did while you were still with him.

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orphicrose · 3 years ago

Text

The Only One

Rick x Reader Fanfiction

Summary : life is strange in the rick and morty universe, as we all know. But things get just that little bit weirder when Rick meets you. Something seems oddly familiar with you, but for once In his life he has no idea why. So he searches from reality to reality to try and see if he had met another version of you, only to realise there where none. You where the only one. That’s when it finally hit him…

This is inspired by a song from Rick and morty that I think is beautiful https://youtu.be/epiOcz3HXNo

I accidentally got carried away and wrote too much, so I will probably just do a part 2 so it’s not to much to read if anyone is interested <3

_________________꧁♥︎꧂_________________

Humans are such fragile creatures, always have been and always will be. You knew that, but you refused to surrender down to it. Not wanting to be included In whatever earth had to offer, so you ran away. And not like how a silly fourteen years old runs away from home, Hah… no.

You left the fucking planet, not leaving behind a single trail or speck of dust for someone to follow you with. Your intelligence and ambition was all you needed to carry yourself through life. Travelling the infinite void of space, soon making a name for yourself. For good and for bad. An ordinary person couldnt even dream nor comprehend the things you’ve experienced or seen. And that’s just how you liked it. Being different. It was truly a gift to be intelligent.

And then there was rick, high IQ and normally not happy about it. Seeing his intelligence as a curse. Rick hadn’t seen it all, it was impossible, but he thought he had seen enough to make a valid opinion on life.

It’s pointless.

Such a bitter man with a bitter view on everything, including himself. You see, when you have an overwhelming amount of knowledge weighing down on your mind, you can go two ways. The first being ricks way, not caring about anything since he has seen how big the universe is and doesn’t see a point.

Then there’s your way, feeling blessed to be able to see things that no one else can, and finding a new reason to live every single day.

You two where polar opposites, but also the same. You where both alone in a universe you felt didn’t need you anymore.

The day both of your worlds collided should have been written down in the history books. It was the day both of your beliefs where almost questioned. Wondering whether fate really does exist.

————————————————

Out of the many things you have done, you’ve never visited the same place twice. Making everyday an adventure, as much of a cliche as that sounds it’s true. Not only that, but you seem to have people after you almost everywhere. For your intelligence, or for revenge. But there is one particular spot you cannot get enough of. Finding yourself there when you lose yourself.

It’s an isolated planet in the middle of the andromeda galaxy. It’s a newly ‘emerging moon’ as you like to call it. In fact, you pretty much founded this planet, since its a recent creation. This also means there is no intelligent life yet evolved, so it is safe for you to do what you please.

You go there often, to watch the two suns set over its small horizon and the thousands of stars come into view. Giving you time to reflect on your life. To appreciate it, but not to regret anything. The stars are far to beautiful to bring your mind to anything negative. The planet itself seems to project the meaning of peace and tranquillity even without life. Maybe that’s why it’s so comforting.

Your thoughts where leaving your mind, as you held your eyes closed. Feeling the breeze brush through your hair gently. That beautiful, genuine smile found its way to your face without you noticing. You where to lost in the feeling of relaxation.

But that soon came to an end. That euphoric state was snapped out of you when you noticed a bright light coming towards you. Getting bigger and bigger in just seconds. Until it became more clear, it was a spacecraft of some sort. A poorly built one to say the least. You sat and watched, mesmerised, as the flames from the object slowly engulfed it. Burning in the atmosphere. Finally hitting the ground, you shook your head and sighed. Being brought back into reality.

The flames took a second to fade after the ship had crashed. And it was clearer to see, it was the stereotypical UFO. The type you’d see in cheesy ski-fi films. But it had encryptions written in English. Which was very unusual, especially for it to be in this part of the galaxy.

What was even stranger was that it didn’t have even the slightest burn mark to it’s metal. Your vision of it became clearer and clearer the closer you got, slowly creeping past the incredibly green trees towards it. But just before you got too close, a figure fell out of the vehicle. Swearing like a drunken sailor.

This is what really messed with you, it was a human. You gasped quietly, not being able to remember the last time you saw one. A mix of feelings rushed over you; confusion, fear, excitement? You couldn’t help but stare, his unique blue hair bounced as he picked himself up, not even bothering to dust off the dirt on his lab coat.

“Fuck! You fucking piece of shit spacecraft. You’ve really done it this time Rick you fucking…” he didn’t finish his sentence, as he kicked the lump of metal. Screaming at the top of his voice.

“Fuck!”

You caught a small glimpse of his face, and recognised him. But you weren’t sure where from. You had met millions of people over the years so he could really be anyone. But there was something so compelling about his character. Something that felt like you where being pushed towards him. Or pulled, by a red string perhaps. Something that was just telling you to interact with him.

You stayed hidden behind a rather tall tree, still collecting your thoughts and questioning whether you should help him. Rick had slumped himself against the ship, putting his hands to his face and grunting. Pausing his breakdown for a second to take a sip from his flask, then proceeding to carry on.

He stayed like this for a good few minutes, before you had decided to approach him. Your curiosity and questions where burning at the edge of your mind. You just had to investigate. Keeping a hand on your weapon tucked neatly in a pocket behind your back. You slowly walked towards him, not even being able to speak before he noticed you.

A gun had been pulled to you, aiming directly between your eyes

“What do you want? I’m not in the mood so just tell me in advance if I should shoot you or not..” his eyebrows furrowed, looking at the hand tucked behind your back.

You rolled your eyes, putting your hands up in surrender. Just how you remembered humans to be. Aggressive and impulsive.

“Calm down, I saw your ship crash. Thought you where in need of some assistance. And put that gun down, god…” to your surprise, he did. With a loud grunt he put his gun back into his pocket and turned away. Usually, he probably would’ve shot on site. And who’s to say he still won’t, but right in this moment he is too preoccupied to care.

“God doesn’t fucking exist…” he mumbled “and I definitely don’t need any assistance!”

You raised an eyebrow at him, watching him as he attempted to fix his broken ship. Opening the lid to the engine and being greeted by a storm of smoke. Now Seconds away from another breakdown.

“Are you… okay?” You hesitantly asked, daring to inch closer to him. Probably was the stupidest thing you’ve ever done. He threw the wrench down at the engine as he exploded.

“No, I’m not fucking okay. I lost my grandson, the entire galactic government is after me, I broke my portal gun and I just crashed my ship into a planet with no helpful resources to fix it.!” His speech sped up, and he went dead silent when he stopped talking. Clearly regretting telling you anything. He is usually good at keeping his mind together and keeping his problems to himself. But he had so much adrenaline pumping through his blood, he could barely concentrate.

“I’m, i’m sorry for your loss” is all you managed to get out

“What? Oh no, my grandsons not dead. I just left him somewhere and forgot exactly where…” he spoke slightly softer, still grunting as he tried to analyse his engine.

There was a small silence while you processed everything he had just said. Moving closer to get a look at his engine, you shook your head.

“You’ve burnt it out…”

“Yeah, no shit smart ass” he bit at you

You rolled your eyes and snatched the spanner from the place he had dropped it. Not using it to fix his engine, but you pulled out a small metal box from your pocket instead. Fixing a few pieces together. Rick stood there and watched with a puzzled look on his face. Moving his eyes from the gadget, then up to get a look at you.

His eyebrows softened as he took in your features, the creases in his forehead disappeared. A rush of a strange feeling replaced the adrenaline, not being able to pinpoint what it was but he didn’t like it. He could only describe it as his heart softening, and getting lost in a place that was familiar to him. Thats what he felt when he looked at your eyes, reflecting off of his.

“Hav-have we met before?” He said in a much calmer tone

You placed the gadget on the engine and pressed a small red button on the top, looking up at him.

“I don’t think so?” The box moved around the engine, like a shield. Fixing it effortlessly, Ricks eyes darted from you, to the engine, then back to you. Now with amazement written all over his face.

Deja vu was the only state good enough to describe what he was experiencing. You broke the silence by holding a hand out to introduce yourself.

“I’m y/n”

It took a quick second for him to respond, still trying to process your face and remember how he knows you.

“I’m… Rick” he finally shook your hand.

“Rick Sanchez..”

That name was oddly familiar to you. Like you’d heard it in a dream. Or it was a loved ones name in a past life. You felt like you had heard it before, in a very distant memory. But no recollection of the connection.

“That seems…familiar” you tilted your head, squinting your eyes at the old man who gave you the same look.

“Well, I wouldn’t be surprised if you knew me. I am the smartest man In the universe”

#rick sanchez #morty smith #rick x reader #x reader #fanfiction #fantasy #fanfic #headcannons #spacecraft #rick and morty #ocs #a lot of words #a lot of work #comedy #romance

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wistfulcynic · 3 years ago

Text

The Outlaw Killian Jones (and the legend Emma Swan)

SUMMARY: Emma Swan is a schoolteacher, respectable and respected in the small town of Haven, Wyoming. She does her job and minds her business, but she has a secret. One that brings meaning to her dull life and excitement to her restless soul. One that she knows could end at any moment.

Killian Jones is a man with a powerful enemy and nothing to lose. He’s prepared to sacrifice every bit of that nothing for the sake of his revenge.

Or, at least, he was.

I am THRILLED to be here, kicking off the @cshistfic Historical Fics event! I’ve always loved reading romances set in the past and Westerns are a long-time favourite. Given how deeply entrenched the Western genre is in American culture, it’s funny to think about how a) most of it was made up for dime novels and, later, radio and television shows and movies, and b) the actual historical period that we call the Old West only lasted roughly thirty years—from the post-Civil War westward expansion under the Homestead Act to around the turn of the 20th century. This fic is set right around the end of that time—late 1890s to early 1900s—in the waning moments of the open range and the “lawless” frontier and the start of the modern era with its trains and barbed wire and cars and world wars. I’ve tried to capture a bit of that sense of transition in the story, mostly with the way it ends.

Huge thanks to @shireness-says for coming up with and running this event, and to @thisonesatellite for Just Being Her.

Words: 4.9k Rating: T Tags: Western AU, historical, outlaw Killian, schoolteacher Emma, all the historical detail, I did so much research for this

on AO3

The Outlaw Killian Jones (and the legend Emma Swan):

The hour was late, afternoon edging into evening in the town of Haven, Wyoming. ‘Town’ as a designation flattered it, this tiny settlement tucked back against craggy and striated formations of rock and nestled amongst ragged brush, being, as it was, scarcely more than a handful of rough-hewn cabins, a church, a general store, a blacksmith and livery stable, a saloon with its attendant whorehouse, and a school.

The store and the smithy did the town’s most active business; unsurprisingly, seeing as they were the only examples of either within the radius of a good fifty miles. The residents—those who lived within the town’s scant limits—were certainly insufficient in their numbers to support either one, but the owners of those ranches that lay outside the town, they and their ranch hands, their wives, and their daughters, frequented both with pleasing regularity.

The general store doubled, as such establishments generally did, as a post office, in which capacity it served as the sole tenuous link between this stark western land and the fashionable cities of the east. The Sears and Roebuck catalogue and that of Montgomery Ward, both prominently displayed beside the till, were tattered and well-thumbed, and the monthly mail delivery never came without piles of brown-wrapped parcels containing the latest in fashion and technology from the wider world—hints at the wonders promised by the new century.

Very little of this prosperity touched the actual residents of Haven. The lives they lived were hard ones, scratched from unforgiving soil, but they were good folk, honest and hard-working. They lived simply and piously and for the most part happily. They tended their gardens and their livestock, read their Bibles, loved their children, and whenever possible sent those children to school.

The Haven school, a single room with two windows, one on either side, and a disproportionate bell-tower on the roof—both this tower and the bell it contained were gifts from a local rancher, who considered them a better use of his money than blackboards or books—was located well away from the town’s main street. It had no fireplace, only a tiny, smoky, potbellied stove, and in the warmer months no breeze blew through the unglazed windows. The pupils sat on simple benches and copied their lessons onto slates that sold at the general store for rather more than their parents could comfortably afford; lessons their teacher laid out for them on a thickly-whitewashed wall with a piece of charcoal, the dust of which stained her fingers and her clothing, and embedded itself beneath her nails so deeply there were times she felt she’d never be free of it.

This teacher’s name, the one she used, was Miss Emma Swan. A solitary and self-contained woman of about twenty-six, far too pretty for a schoolteacher most said, and if pressed these same would likely agree that teaching was not what folks might refer to as her calling. Though none could deny that she did her best and was kind to the children—a thing not always guaranteed from schoolmarms—she exuded such a restless air, an impatience with the tedium of her job and the pace of life in Haven which she did not trouble to conceal, that it was a subject of great curiosity amongst the residents why she continued to stay there.

“I have my reasons,” she would say, whenever anyone dared to broach the subject, “and those reasons are my own.” There it was and there it would remain as far as Emma was concerned, and as the townsfolk knew her to be a courteous woman but one who never minced her words when riled, they declined to press the issue.

By the time Miss Emma Swan had finished up in the schoolroom on this particular late afternoon, the floor swept and the board cleaned and lessons all prepared for the following day, the sun was already slipping behind the craggy rocks at her back and casting upon the town a peculiar sort of distended twilight—shrouded in shadows beneath a glaring blue sky. As she made her way the short distance between the schoolhouse and her own cabin—or rather, the schoolteacher’s cabin, perhaps the most compelling perk of her job—a brisk breeze ruffled the hem of her skirt and the few flyaway hairs that had escaped her tidy Gibson bun. The night would likely be another chilly one, and Emma wondered absently if she had enough wood left to leave the fire high for an extra hour or two or if she should resign herself now to another cold, dark evening spent alone.

The cabin where she lived, she and sixty years of schoolteachers before her, was small and rough like most in Haven and comprised only two rooms: a small bedroom to the rear and a larger space at the front used equally for sitting, cooking, and dining. In this front room was both a fireplace and stove, the latter surprisingly modern and another gift from a different rancher, to the previous teacher. Near this stove sat a small wooden table and two matching chairs; a soft and generous armchair had pride of place before the fire.

The bedroom was by far Emma’s preferred room. The walls in it were painted, in a pale and soothing blue, and on one of them a charming watercolour of forget-me-nots was hung. There was a white wardrobe with a mirrored door, a washstand and a vanity table, and a large bed with a sturdy iron frame. The curtains on the single window were of dotted swiss that Emma had sewn herself, and in the morning when she opened them she was greeted by the colours of the dawn.

Emma removed her buttoned boots the moment she was through the door; they pinched her toes and she disliked wearing them indoors. She replaced them with a well-worn pair of carpet slippers then headed for the bedroom, there to change out of her school clothes and into the more comfortable, loose wrap dress she preferred at home. When she entered the room she had already undone most of the buttons on her high-collared blouse and so made straight for the wardrobe, without so much as a glance at the bed.

The mirror on the wardrobe door as it swung open flashed the brief reflection of a face, just as Emma heard the sound of a chair leg scrape against the bare wood floor. She gasped and spun around, eyes wide and one hand pressed against her chest.

There could be no question that the man currently in occupation of her vanity chair, sprawled in it with an air as casual as it was deceptive, was one who had followed quite a different path of life than that afforded to the residents of Haven. His untidy hair and the thick scruff on his jaw might not be especially remarkable out in this still-wild corner of Wyoming, but the narrow cut of his coat and the embroidery on the waistcoat beneath it, the silver chain of his pocket-watch and the ostentatious knot of his tie marked him as a man who knew his way around a gambling table for both good or ill and could likely acquit himself equally well in both scenarios. A man who dealt with the hardships of life by shooting rather than working his way out of them—as the gleaming six-shooter currently pointed straight at Emma would most certainly attest.

Emma forced herself to breathe, slow and steady. Her heart was pounding. The man greeted her with a brusque nod, and cocked the hammer on his revolver.

“Don’t let me interrupt you, love,” he drawled, in an accent that suited this town less even than his clothes or his gun. “By all means, keep going.”

Emma swallowed hard and with trembling fingers undid the remainder of her buttons. Her blouse hung open to reveal the hooks of the corset underneath.

The man gave his gun a menacing wave. “All the way now, there’s a good lass.”

She shrugged off the blouse and let it fall to the floor.

“And the skirt.”

She unhooked her grey wool skirt and released it to pool around her ankles.

His voice rasped. “Take down your hair.”

Emma shivered.

Three pins and two combs held her hair in place. She removed them, dropped them into the pile of clothing at her feet; the bun tumbled down and over her shoulder.

“Shake your head.”

She did, vigorously. The bun unraveled further and strands of silky blonde fell across her face.

He swallowed audibly. “Now the rest.”

Emma hesitated, fingers hovering over the hooks on her corset. She wore nothing beneath it but a combination made of thin cotton lawn.

The man raised his gun and growled, “All of it.”

She tossed her head back, jutted her chin out high in defiance. Her belly churned with a dark thrill of anticipation as she unhooked the corset and flung it away. He chuckled, low and rough. Emma fumbled with the buttons on her combination as he uncocked his gun and set it aside, then undid the belt designed to hold it. His eyes locked with hers as he stood, pale blue and profoundly tired, eyes that had seen far too much.

She finished with the buttons but left the combination on, parted to reveal a thin strip of pale skin. Her heart thundered as he approached, her breaths short and heaving. He swaggered up and stopped in front of her, close enough that she could smell the dust and sweat on him, so close she had to tilt her head again to see his face. His hand slipped beneath her shift to curl around her waist, fingers rough on her soft skin.

“I—” Emma gasped as he pulled her closer, flush against him. His voice was a rumbling growl in her ear.

“You what, love?”

“I was expecting you yesterday!” she snapped, and then she kissed him.

“Gold is dead.”

Emma’s head shot up from where it had been resting on the bare and hairy chest of Killian Jones. The most notorious outlaw in three states, or so the Wanted posters would have folks believe. Train robber, bank robber, high-stakes gambler—but only the trains and banks and gambling dens controlled by one particular man. A man in whose side Killian Jones had been an exceptionally troublesome thorn for near to six years. A man whose wife Jones stood accused of murdering. A man who was, it seemed, now dead himself.

Emma stared down at his face, at the sharp definition of his cheekbones and lines of strain around his eyes. Such heavy burdens he’d been carrying for as long as she’d known him, but now, despite the exhaustion writ plain on his face he seemed lighter. Relieved, in some intangible way.

“He is?” she gasped.

“Aye.” Killian nodded, grimly satisfied. “Shot him right through the place where his heart should be. That’s why I was late.”

“Oh, Killian.” It wouldn’t do to feel happy about a murder, even that of a wicked man, but Emma found that she too was grimly satisfied. “You did it.”

“Aye, it’s done. And now I have a price on my head so high I’d turn myself in if I could, and special team of bounty hunters hired by Gold’s son to bring me to him, dead or alive.”

“Oh.” Her fingers flexed on his chest and his tightened where they curled around her hip. “What—what will you do?”

“Leave the country.” He spoke as though the answer were obvious, and Emma supposed it was. “I’ve no choice.”

“Will you go back to England?”

“No. There’s nothing left for me there.” He paused and his hand slid up her back to tangle absently in her hair. “I was thinking South America. Argentina.”

“Argentina?”

“Aye. Land’s selling down there for cheap and I’ve enough saved to buy myself a ranch. I’ve never tried ranching before so it’ll probably be an utter failure, but the idea’s crawled into my head and made itself a nest there, so I think that’s what I’ll do.”

Emma slipped from his arms and out of bed. She could feel his eyes on her as she took her house dress from the wardrobe and wrapped it around herself, as she tied it at her waist with jerky movements.

“You must be hungry,” she said.

“I could eat.”

“Stew?”

“Perfect.”

In the front room Emma piled wood on the embers in her stove and coaxed a fire to life beneath the pot of stew she’d left on the hob. She swept the ashes from the fireplace, arranged the logs and the kindling, then struck a flint to light it. She could hear Killian in the bedroom washing and dressing in the spare clothes she kept on hand for him, and by the time she sensed his presence behind her the larger logs were catching nicely and the hearty aroma of stew had begun to waft in from the stove.

“Shouldn’t be too long before it’s ready,” she told him without turning around. “There’s cornbread too. It’s a few days old, but—”

“Emma.”

“—it should still be good if you dunk it in the stew.”

“Emma, love.” Killian’s voice was soft, full of the tenderness he showed only to her. “Talk to me.”

“About what?”

It wasn’t as though she hadn’t known this day would come, this one or another very like it. She understood the dangers of the life he lived, out on the edges of society, pursued by an influential man with a terrible grudge, and she’d done all she could to make her peace with it. Killian could have died any number of times in the three years of their acquaintance; she had always been aware that every time she bid him farewell might be the last.

And now she knew for certain that it would be. Nothing had changed.

She heard him pull out one of the dining chairs and sit down in it, and though she kept her back to him she he knew he would be leaning his elbow on the table and running a hand over his face. She could picture the gesture in her mind’s eye with perfect clarity, so often had she seen him do it before, and her heart hurt because she knew he only did this when he was deeply troubled.

“Emma, you know—you know why I spent so long trying to kill Gold,” he said roughly.

“For Milah.” Her voice hardly broke on the name. “To avenge her.”

“Yes. That bastard hunted her like an animal, shot her right in front of me then framed me for the crime, and all because she couldn’t bear to spend another moment as his wife. He took her life rather than allow her to live it free from him, because he couldn’t countenance her finding happiness with another man. And I swore to her as she lay dying that I would make him pay for that.”

“Because you love her.”

“I did.” In the silence of the cabin, she could hear the rasp of his scruff against his palm. “I did.”

Emma had been watching the fire, now dancing merrily in the hearth, and it took a beat or two for his words to register. When they did her heart gave a shuddering thump and she spun round to gape at him. “Did?” she repeated.

Killian’s lip quirked and humour flared briefly in his eyes before they became solemn again, and heartrendingly soft. “It’s a funny thing, revenge,” he remarked. “It begins as a simple quest for justice but so easily descends into obsession—almost before a man knows what’s come over him, it’s all he’s got left to live for. That’s how it was for me, for years. Until…”

He trailed off and Emma found she was holding her breath. “Until?” she prompted.

He looked up at her. “Until I met you.”

She inhaled sharply as their eyes met, his own warm and such a brilliant blue, full of an emotion to which she didn’t dare give a name. “I kept after Gold because of my vow to Milah, yes, but also because I had to, because it was him or me. His life or mine. When that bullet pierced his chest and I saw him fall, I realised that it wasn’t about Milah for me anymore and it hadn’t been, not for a long time. I was fighting for my life, my right to have it and to live it in peace. That’s all I want, just peace and a simple life. And you.”

“Me?” gasped Emma, blankly and ungrammatically, as she attempted to grasp what he was saying.

Amusement coloured the tenderness on his face, alongside a hint of exasperation. “Don’t you know, Emma?” he asked with a shake of his head. “Why do you think I kept coming back here?”

She offered a weak smile and an abashed shrug. “My cornbread?” she ventured, and he laughed.

“I don’t know how to tell you this, darling, but your cornbread is dry. Try again.”

Emma elected to ignore this ungentlemanly slur on her culinary skills. “Well… I suppose the town is quite secluded, good for hiding out,” she observed.

“It is that. But that isn’t the reason, love.”

“Isn’t it?”

“You know it isn’t.” Killian stood and moved towards her, slowly as if she were a baby faun he was apt to startle, or possibly a sleeping mountain lion. “It’s you, Emma Swan,” he said softly. “You are what I will always come back for. You are the reason my soul is hale and unconsumed by hatred. Because it wasn’t revenge I was after, in the end. It was the future I wanted with you.”

Tears clogged Emma’s throat and pressed insistently behind her eyes. “Killian,” she choked, “I—”

“Shh.” He closed what small distance remained between them and folded her in an embrace to which she clung tightly, face pressed against his shoulder so the soft flannel of his shirt might absorb her tears. “Emma, I know I have next to nothing to offer you.” Killian stroked her hair soothingly as he spoke. “A tenuous existence in an unfamiliar country, backbreaking work that likely won’t pay off, a struggle for everything we have. I shouldn’t ask this of you. I should have the decency to walk away and let you find happiness with a better man than me.” She could hear tears in his voice now, and when she looked up she saw them glistening in his eyes. “But I won’t,” he continued gruffly. “I can’t, because I am a selfish bastard and I love you. I love you so much, Emma.” His voice broke. “So much. And if you could see your way clear to coming to Argentina with me, I would spend every day I have left on this earth working to make you happy.”

A rush of joy filled Emma Swan then, joy such as she had never known before. Her tears fell freely and unheeded as she tightened her hold on the man she loved and pressed her forehead to his own. In that stance they remained for some considerable time, until Emma became aware that the silence had drawn out far too long and she must speak. There were words he needed to hear from her, crucial words, and yet Miss Emma Swan, despite being quite a competent schoolteacher in all respects including her vocabulary, had always found words failed her when in the grip of strong emotion.

“Did I ever tell you I grew up on a ranch?” she blurted, then shook her head. That wasn’t what she’d wished to say.

Killian’s brow wrinkled. “You’ve mentioned it.”

“My daddy’s place out near Casper,” Emma pressed on. “A thousand acres of cattle, mostly, and some horses.”

“It sounds nice.”

“It was.” She snuffled and shifted until her head was resting on his shoulder and she felt cradled in his arms. This wasn’t the speech she’d planned but now she found herself determined to give it. “I was his only child, his only family after my mama died, and he reared me all my life to take over from him,” she continued. “But then when I was nineteen he got married again, and had a son. And suddenly ranching was ‘no job for a woman,’ or so he said, and I should look into teaching instead. Or better still get married and become some man’s pretty possession. Preferably the son of a neighbouring rancher, ‘for the future of our family’s land and legacy’.” She paused, remembering, and rubbed her cheek against his shirt. “I told him to go fuck himself.”

Killian’s laugh rumbled through the both of them. “That’s my tough lass,” he said, with a pride in his voice that warmed her, and made her desperate.

“But you do know what I’m saying, don’t you Killian?” she persisted. “You hear what I’m telling you?”

“What I hear is that in addition to being beautiful and brilliant and tough as old boots, you also know how to run a ranch. Which would be bloody useful I must admit, as I haven’t got the first faint clue where to start. Is that what you wanted me to understand?”

She nodded in relief. “That’s it.”

He brushed the hair back from her face with fingers gentle as the wing of a butterfly. “And is that... all you have to say?”

She felt caught in his eyes, and like to drown in them. “There may be one more thing.”

“Oh?”

“Yes. It’s that I—I—” Emma drew a steadying breath. “I love you too, Killian, and of course I’ll go to Argentina with you.” A smile broke across his face, that rare and brilliant smile of his that set her heart to soaring and broke the dam that held her words in check. “I’d go anywhere with you,” she declared, laughing as he squeezed her tight. “To the moon. To hell itself, and then back out again.”

“Let’s hope that won’t be necessary.”

He leaned down to her and she swayed up to him and their lips met in a kiss that sang of love and of hope and of a most solemn promise, if something of a dramatic one. He dipped her back and kissed her until she was dizzy and overcome with laughter, and then swung her up again and into a dance.

Emma put her head on his shoulder and leaned into him as they danced to music they alone could hear, all around the cabin with the aroma of stew in the air and hope for the future in their hearts.

The disappearance of Miss Emma Swan, schoolteacher and respected resident, shook the town of Haven, Wyoming as nothing had before. Even the escape and subsequent stampede down Main Street of Mr Murchison’s pigs had caused less consternation, since, as the residents all agreed, for that at least there was an explanation. A rusty gate hinge, investigation later revealed, had been the culprit behind the Spectacular Pig Hullabaloo of 1893, whereas Miss Swan had simply vanished, with no explanation given or obvious method of egress. She owned no horse and had not boarded the stage; no one matching her description had been observed at the train station in Casper or anywhere else that a woman alone on foot might reasonably have been expected to turn up. She had taken nothing with her save some clothes and a few books and left nothing behind but a brief letter hastily scrawled on a scrap of paper—her resignation from her position as schoolteacher effective immediately, and a recommendation for her replacement.

Haven residents were thoroughly baffled, and for many months afterwards the Fantastical Vanishing of Miss Emma Swan was the number one topic of conversation amongst them. Theories were dismantled nearly as quickly as they had been constructed, replaced by newer and ever more fanciful speculations, and each resident had his or her own pet notion as to how and why the trick was done. Rarely had they felt so stimulated or enjoyed themselves so thoroughly, however time, as it inevitably does, soon began quite noticeably to pass, and the town’s attention moved on to other happenings. For although new events in such a quiet place may never again be as deliciously sensational as the mystery of the vanished schoolmarm, they do possess the not insignificant advantage of being new.

And thus Emma Swan passed into Haven legend.

Some years later, on the eve of her wedding, Miss Mary Margaret Blanchard—soon to be Mrs David Nolan—sat at the very table where Miss Swan’s letter had been left and composed a letter of her own, to an old friend she’d first met at the State Normal School of Colorado. In her letter Miss Blanchard informed her friend of the imminent blessed day and thanked her for the recommendation that had not only brought Miss Blanchard many years of enjoyable work as schoolteacher to Haven’s children but also led, in that roundabout way life sometimes takes, to her current state of blissful happiness.

This letter travelled by mail coach from the Haven general store—where Miss Blanchard posted it to the care of a P.O. Box in San Francisco—to the main post office in Casper. From there it went via train to Cheyenne, where it was loaded onto the mail car of the Union Pacific Railway and thence made its journey to the west coast. In San Francisco its fortunes underwent a curious change, for it was redirected by a clerk there, in accordance with instructions, and placed back on the Union Pacific, headed this time for Denver. From Denver it voyaged onwards to Kansas City, then Chicago, and finally to New York, where it abandoned train travel forever in favour of a steam ship bound for Buenos Aires.

Upon arrival at port it was placed in the charge of a courier who carried it along with a scant handful of others over the rough roads of the Argentinian coast to Puerto Santa Cruz and then inland, where it finally, many months after its departure, came to rest at a tiny, dusty outpost in southern Patagonia. And it was from this inauspicious locale that the letter was collected, at long last, by its intended recipient—a woman none of the residents of Haven nor indeed the erstwhile Miss Blanchard herself would be likely to recognise as Emma Swan.

The clothes she wore were utilitarian in design and plain in colour, liberally coated in fine brown dust. Her pale hair hung loose and wavy down her back, and her face beneath her wide-brimmed hat was tanned and marked around the eyes with the fine lines characteristic of those who spend a good deal of time squinting into bright sunlight. But these were superficial changes. The woman who collected the well-travelled letter and rode with it back to her ranch, who sat at the table in her kitchen and read it with a wide smile and sincere pleasure at the news from her friend—this woman was happy, as Emma Swan had surely never been. It was a happiness born of deep contentment and the satisfaction of a life lived on one’s own terms. And it was the happiness of a woman who is loved.

Emma was reading the letter a fourth time when the sound of boots on the porch alerted her to Killian’s arrival; she looked up just as he came through the door with a smile on her lips the like of which neither Mrs Nolan nor any other in Haven could ever imagine her smiling.

Killian hung his hat on a hook and met its brilliance with a smile of his own. “What are you thinking about, love, that has you so radiant?” he inquired.

“A letter from Mary Margaret.” Emma indicated the sheet of paper in her hand. “She’s getting married. Is married now, I suppose.”

“To a fellow worthy of her, I hope?”

“A rancher, but not one of the arrogant ones,” Emma replied. “I think he is. Worthy of her, I mean. I think they’ll be happy.”

“That’s good news indeed.”

“It is.” She set the letter aside and went over to him, tucked her head beneath his chin as he enfolded her in his arms. “But that’s not why I’m radiant, as you say.”

“I say it only because it’s true, darling.”

“It’s because I’m happy,” said Emma softly. She nuzzled her nose against his neck; he smelled of sweat and dust and horses. “For Mary Margaret, of course, but also for me. It struck me just now, reading her letter, how happy I am. I’m so happy, Killian.”

His arms around her tightened and she felt him stroke her hair, and when he spoke his voice was gruff. “No regrets then, about abandoning everything you’ve ever known to live out your days on the lam with me?”

“Nope.” Emma pulled back just enough to look up at him, to caress his cheek with her fingertips and press her forehead to his. “No regrets at all.”

Historical Note: Emma in this fic is based loosely on a woman named Etta Place. Very little is known about her, but she is thought to have been romantically involved with Harry Longabaugh, a.k.a. the Sundance Kid, and to have accompanied him and Butch Cassidy to South America. However, verifiable details about her are scarce—even her real name is uncertain—and only one photograph of her remains. Some believe she may have been a prostitute but in Butch Cassidy and the Sundance Kid the writer chose to make her a teacher instead, and honestly I have always found that such a compelling tale. A “proper” schoolteacher having a secret affair with an outlaw, then running away with him to another continent? The romance, am I right?

And thus the inspiration for this story.

@ohmightydevviepuu @thisonesatellite @katie-dub @kmomof4 @killianjones-twopointoh @mariakov81 @stahlop @optomisticgirl @spartanguard @shireness-says @snowbellewells

#cs fic #cs ff #cs ff au #cshistfic #captain swan #western au #historical fic #historical romance #Emma is a teacher #killian is an outlaw #many many historical details #like so many #i make no apologies for this #it's more of a warning #the outlaw Killian Jones (and the legend Emma Swan)#profdanglaisstuff

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makeste · 4 years ago

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BnHA Chapter 297: We’re Bustin’ Outta This Joint

Previously on BnHA: Horikoshi did his best to undo all of the good vibes from the Girl Power arc by killing off Midnight. It sucks and I still don’t like it, but it is what it is. Unfortunately, Not Killing Off Your One Female Teacher Character With Any Character Development was worth 30% of his grade for the semester, so it brought his average down all the way to a C-, and so he and his report card will just have to live with that. Meanwhile Ochako did some rescuing, and the other U.A. kids lay around unconscious and/or traumatized. The chapter ended with an abrupt cut to Tartarus, where AFO is apparently just chilling and waiting for the Nearly High Ends to come bust him free. What kind of a cliffhanger is that to leave your fans hanging on for three whole weeks. Who’s suffering more here, the characters or the readers.

Today on BnHA: Horikoshi is all “okay I know you all want to know what happens to Deku and Shouto and the rest, but have you considered finding out what happens to Overhaul and Muscular and Moonfish and New Girl Character instead?” Fandom is all, “you had us at New Girl Character.” Seiji’s dad is all, “I’m just going to say a bunch of stuff to help make sure none of the readers feel conflicted about cheering on a bunch of mass murderers escaping from prison.” Tomura is all, “dammit AFO why are you still here.” AFO is all, “shhh, Tomura, go back to sleep.” Tomura is all, “wtf but you’re literally hijacking my body and continuing to shred it to bits while we break into BnHA Alcatraz to recruit your own personal Suicide Squad.” AFO is all, “:).” Real!AFO is all, “HERE I AM, EVERYONE, SORRY TO KEEP YOU WAITING.” And then the chapter ends. Geez.

oh shit lol it’s a whole big fucking page all about Tartarus

my very first thought was “that’s a long-ass fucking bridge”, and then I went to go google “longest bridges”, and Wikipedia was all “son there are literally a hundred and fifty bridges in the real world longer than 5km, and the longest one is actually 165km”, and I was all “oh shit I really don’t know jack shit about bridges.” then I looked at the list for a few more minutes and realized that the super-long bridges were all built over land, and that the longest bridge over water is only 38km. which is way more reasonable, but also still really fucking long though?? ngl I would freak the fuck out on that bridge. what does any of this have to do with Tartarus you ask?? absolutely nothing, I literally forgot I was reading a chapter for a sec lol uh

anyway, my parting thought on the bridge is that it kind of defeats the whole purpose of having a giant island fortress prison, but whatever. moving on

and the six levels thing is straight out of One Piece lol. something tells me BnHA’s prison break arc isn’t going to be quite as fun. hmm

so now we’re cutting to “the Bronze Gate”, which is the main entrance off of the bridge, and some goat-looking motherfucker is out here trying to become my new favorite character. bro

SON OF A BITCH WHAT’S WITH THE BULLETS FLYING IN THE BACKGROUND. DON’T TELL ME THEY’RE SHOOTING AT GYGES. THEY CAN’T KILL OFF MY FRESHEST HOMIE GYGES. SURELY THEY WOULDN’T

ooh and now, giant robots!

giant robots with machine guns. “I’m very sorry I killed off Midnight, makeste” you know what, fuck you Horikoshi. thinking you can buy my affections back so easily

does Gyges have six arms??? look how fucking calm he is announcing the code red security lockdown, holy shit. GYGES

NOOOO

NO NOT BRIAREUS. THIS DAY EXACTS A HEAVY TOLL

YO, WHAT

he came there himself?? so much for making the Noumus do his dirty work. and based on the speech bubble shape and font, this is still AFO talking

uh oh what’s happening

is he using Decay or is his arm just sort of crumbling to pieces because he hasn’t had time to heal up yet? if it’s the former this prison break is going to set a record for shortest arc yet isn’t it

now we’re cutting to B10 which is apparently the lowest level. but do they mean lowest as in the least security, or lowest as in the deepest underground, a.k.a. the most security? idk it’s confusing and I think they should be more specific. is it B like in basement?? are there six levels or ten?? stupid Tartarus

anyway so the guards are talking about how Gigantomachia is scheduled to arrive tomorrow morning. heh. will there even be a Tartarus tomorrow morning

(ETA: WELL, UH.)

wow they’re talking about just killing him outright. damn

I kinda feel like “prison guard” is one of those jobs that just sort of naturally attracts shitty people. anyways yeah, Seiji your dad is a real piece of work

and he’s even doubling down on it after the other guy repeatedly keeps trying to hush him up. dude we get it, you’re an asshole

ooh and now we’re getting an interesting look at the various prisoners, some of whom look suspiciously familiar!

for starters, that’s definitely Moonfish in the upper left corner, I’m like 99% sure. not quite clear who that is across from him in the upper right, but it’s been a hot minute since we saw Muscular, so maybe?

and could that be Overhaul in the panel beneath him?? they’re not showing his face so I assume it’s someone we’d recognize, and he’s the only currently-incarcerated villain with that haircut as far as I can recall. though it seems weird that he’s not restrained more given his quirk. I thought Horikoshi mentioned in Ultra Analysis that he’d gotten it back somehow. eh well we will wait for answers

I don’t recognize the person to his left either (though she has an oddly familiar look to her?). but the person on the bottom right, next to Kurogiri... is it Stain?? the hair and body language are sure giving off Stain vibes. if someone had told the me from two years ago that I’d actually be excited to see Stain again I would have said you were full of shit. and yet here we are. these sure are interesting times

anyway so now the Code Red intruder alarm is blaring. and I gotta say, that one scene sure was effective at killing any sympathy I might have been inclined to feel for these guards lol. bring on the imminent massacre

“what horrible timing” lol yes. it’s almost as if they planned it that way

uh oh

is he omae wa shindeiruing. watch your six, Mr. Prison Guard

oh shit

WHAT DID I SAY. WHAT DID I FUCKING SAY. but nooo, you all were all, “but a bridge is more convenient!” VERY WELL THEN, LIE IN THE BED THAT YOU HAVE MADE

anyway so it’s the High Ends lol. I mean we already knew it was them. let’s just get on with it

omfg Tomura ARE YOU RIDING ONE

WHAT ARE YOU, A NAZGUL. WHY IS THIS MY FAVORITE THING

and it looks like it actually is Tomura again, too (as opposed to AFOmura)

-- is he using Decay on himself?? is that what it is?? or no wait, is this just more of the weird side effect shit that’s been happening since he Awakened. actually yeah never mind that’s clearly what it is

y’all this man is out here having a full blown argument with himself

so this is equal parts compelling and hilarious to me right now lol. like I feel so bad for Tomura, but I also lowkey want to see how far this escalates. like do you think he’d go as far as to punch himself in the face. where will this journey lead us

fucking look at this shit

other people have already mentioned this, but with this scene especially it makes me really curious how they’re going to show this in the anime. will it be AFO’s voice coming out of Tomura’s mouth? or Tomura’s voice using AFO’s speech patterns? more importantly, will it be cool and dramatic, or will it actually wind up being hilarious? or both?? never count out both

also he’s looking pretty good there in that bottom panel with his one eye just barely visible. that doesn’t have anything to do with anything, but here I am, pointing it out

also also, lol at Tomura being all, “the fuck do you mean, ‘rest’, you’re the one that dragged my body out here to raid a fucking prison,” and AFO being all, “oh yeah, lol, true true, but I meant rest after that.” yes, this man clearly has nothing but the purest intentions, Tomura. trustworthy af

this fucking guy. Tomura is your bullshit radar finally operational yet?? can you see yet that it was always his intention to use you right from the very start?? oh man I am starting to get fidgety now listening to this

so Tomura’s saying he doesn’t just want to be used as a chess piece. and AFO is all, “well okay but what if it’s a VERY NICE AND IMPORTANT chess piece.” bro DID HE STUTTER

-- AHH BUT NEVER MIND THAT, HERE IT IS, THIS IS WHERE THE FUN STARTS OMG

GO ON AND ACQUIRE THEM THEN! omg. why am I so fucking excited. it seriously makes no sense. like seriously, ‘hooray, our old buddies, Overhaul and Stain!!’ -- come again now?? who is this person that I have become

meanwhile AFO is making all this fuss and I really don’t understand it though

why would you need to plow directly through the building. why can’t you just use doors like a normal person. it’s not like they can lock you out, like hello, you can literally turn anything you touch into dust, what’s with all the melodrama

anyway so he’s apparently hitting the prison with some sort of EMP attack now and shutting down all their systems

omg the suspense is killing me. this is going to be so badass once it’s animated, but right now all I keep thinking is “YES, GREAT, CAN WE PLEASE JUST MOVE IT ALONG”

the doors are opening ahhhhhhh come on come on come on let’s go let’s get to the excitement already

now the guards are running over to try and regain control. but, like

yeah that’s pretty much how I’m expecting the rest of this to go basically

so now they’re shooting at the dust cloud lol. well if there’s one thing movies have taught me, it’s that bad guys who wait inside clouds of dust while panicked cops blindly rain bullets at them until they run out of ammo are basically invincible lol. soooooo

OHHHHH SHIT

AHAHAHAHAHAHA. THEY ARE SO FUCKED LOL, SHIT

YEP, AND HERE’S ANOTHER ONE

is this the first time we’ve seen Moonfish’s face? I feel like we might have caught a glimpse of it before on an omake page or something. either way, it wasn’t anything I actually needed to see again. thanks...?? I guess??

okay but seriously, are we supposed to actually know who this badass lady is?? like I don’t know her but I feel like I know her, you feel?

(ETA: lol there are already like 60 different theories about how she’s related to every single character in the series. will be interesting to see if anything comes of this. although we did just get three “this villain was secretly related to [insert character(s) here] all along” reveals just in the last arc, so idk, it might be better if we pass on it this time lol.)

girl who are you. please stick around. for the love of god don’t let this man kill you off too

????

wait so is this Overhaul? boy sure has seen better days huh. but the floppy sleeves... yeah, it’s gotta be him

anyway so then the only ones missing are Stain and Kurogiri, yes?? omg. and one page left to go

AHHHHHHHHHHHHH

NO ONE WILL BE ABLE TO CONVINCE ME HE COULDN’T HAVE DONE THIS SHIT RIGHT FROM THE VERY BEGINNING. FUCKING TIME-BIDING DRAMA QUEEN

AND HE’S JUST FLOATING HIS LIFE SUPPORT SYSTEM ALONG BEHIND HIM SOB. THIS FUCKING GUY

AND IS HE JUST ABSENTMINDEDLY DRAGGING SOME POOR SCHLUB’S CORPSE ALONG BESIDE HIM LIKE A SLEEPY TODDLER CARRYING THEIR TEDDY BEAR. I FUCKING CAN’T. REST IN PEACE, FRIEND. GIVE MY REGARDS TO GOOD OLD BRIAREUS

so that’s it! and we still don’t have any idea what AFO is actually planning to do now, after all of that. are they going to merge bodies?? or is he going to try to switch with him?? either way Tomura’s body has to be part of the plan somehow since he keeps making so much of a fuss over it. flkhglkhlk. dammit I need answers lol

#bnha 297 #shigaraki tomura #all for one #overhaul #muscular #moonfish #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #horikoshi where is gyges!!#your silence is defeaning #first midnight and now this #I am beside myself #r.i.p.

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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Creation”

Happy Saturday, everyone! Oh man, oh man, oh man. I think I'll need to steer clear of the general RWBY tags this week, simply because I know the sort of responses I'll see to this episode. From smug celebration at Ironwood's downfall, to bad takes about what makes us human, this episode is a petri dish of sensitive material handled insensitively.

Let’s unpack it, shall we?

We open on an action that feels like a summery of the last three volumes: a grimm attacks an airship from the front, no doubt killing its pilot, while the other grimm conveniently ignore our heroes, no masking in sight. The group looks a little sad at the destruction around them, but ultimately ignore it because they have bigger, heroic things to do. I could write a whole, additional essay on how the huntsmen code — to protect the people — has been warped and abandoned by our protagonists in their effort to do what they think is right. It's a tale that might have been compelling if only RT knew they were writing it.

We get a shot of Atlas drones unloading the bomb before one is taken out, presumably by Qrow and Robyn. Segueing to Ironwood and the Ace Ops, they're waiting for Penny to arrive, the former carrying a massive gun presumably capable of capturing her. Despite the horror we saw on their faces last episode at the realization that Ironwood would kill Marrow for speaking up, it seems that now the Ace Ops are entirely in agreement with these measures. A week ago the implication was that they fell back in line out of fear, but now Harriet talks passionately about "putting down" the group if they were stupid enough to accompany Penny. "The General gave his terms." Vine sighs at this, but doesn't actively disagree. He's just "retracing the steps that led us here."

So, congratulations on introducing four new characters, not bothering to develop any of them, killing one off while ignoring Qrow's hand in that, and having the other three become all, "Yeah! Mass murder is a perfect solution!" off screen. Marrow is the only one with something resembling development and, as covered in these recaps, that's been pretty badly executed too.

Ironwood sends them to deal with Robyn and Qrow after Winter reappears to "assist" him. That gets quotation marks because most viewers at this point have realized that she's who our two birbs spotted in the elevator. Winter isn't on Ironwood's side anymore, she's just skillfully clearing the field for the final attack. Indeed, we get a moment where she hesitantly brings up the bomb and Ironwood responds that he hopes she's not going to try and talk him out of it. No. Winter doesn't think that's possible. This was her final attempt at peace.

One of the reasons why I think I'll stick to my own blog for a while is because the fandom has a tendency to paint broad personality traits as evil when applied to some characters, yet simultaneously heroic when applied to others, when really it's about how that those traits are used. What I mean is, I've seen a lot of Ironwood critical posts that emphasize how stubborn he is. He thinks he's right and he won't back down. He wont listen to others. He's going through with this plan and if anyone tries to stop him? That's their mistake. Totally evil, right? Except, this is the exact same behavior Ruby displays, particularly in Volumes 6 and 7. She was stubborn about stealing from Argus and continuing the fight to the point where it endangered her and her teammates, to say nothing of the rest of the city. She refused to listen to Qrow, or Ironwood, or the Ace Ops, loudly announcing that she was right about, well, everything. If they didn't agree with her, the options were to leave the group entirely, or fight her. The actual difference here is that the writers have taken Ironwood to an extreme, one that's incredibly easy to understand as bad because it is bad: bombing Mantle has no defense. Ruby pulls the exact same nonsense, it's just not to that same extreme and her actions are followed by scenes that are meant to make us forgive her: a sad look because she didn't mean to get a city attacked by a leviathan grimm, a cry on the staircase because she didn't mean to risk the lives of an entire kingdom... even though she did. Ironwood is the bad guy because he's been written to take specific, OOC actions like shooting unarmed kids. He's not the bad guy because when other characters go, "Don't do this" his response is, "I have to." Because that's been Ruby's motto ever since she "had" to use the Lamp to rip Ozpin’s life story away. RWBY introduced those extreme actions of shooting the youngest in the group (for no reason) and threatening to bomb a city (for no reason) or shooting a councilman (for no reason) because when you remove those you've got a man who looks exactly like our hero. Ironwood's arc has been peppered with these confusing, unpersuasive actions because if you just keep the story as him stubbornly keeping to a plan he thinks will save the world, you're left with the reminder that all Ruby has done lately is stubbornly keep to plans she thinks will save the world. This moment with Winter just highlights how ill thought out Ironwood's descent has been because he does everything Ruby does... with a few, tacked on, “and randomly shoots people!” moments to ensure we understand that he’s definitely evil. No comparison to our heroes here, folks!

Ironwood is a bad guy now. That’s certain, but he was made that way so the story never had to grapple with the question of what that means for Ruby if we really start condemning things like lying, secrets, stubbornness, or endangering others for the greater good. Well then damn, if we strip away the hypocrisy then she might not be a good person after all. Or the people she’s simplistically labeled as bad might not be the devils Ruby claims they are.

But that’s a level of nuance RWBY would rather pretend doesn’t exist.

All of which is highlighted by Ironwood’s reaction to "Penny." He sighs and sags over the gun, immediately putting it aside. With his hand on her shoulder, Ironwood tells her she's "done the right thing." Precisely the same way Ruby would lower Crescent Rose and give someone a smile when they decided to fall in line with her.

Which, of course, is the moment when Emerald reveals herself, dispelling the Penny illusion and revealing Team JNPR The Second behind her. She gives a quip about it feeling "weird" to do the right thing before disappearing.

From there the action picks up fast. I really enjoyed this battle simply from a choreography and energy standpoint. It gets the blood pumping, Ironwood's hand-to-hand is spectacular — especially that moment against Ren — and the group actually displays teamwork for the first time in what feels like forever, all of them needed to land a hit on Ironwood. As always, out of the context of the rest of the show it feels and looks great. My primary issue is that we get this fantastic fight against Ironwood. Not Salem, not Cinder, not Watts (like last volume when Ironwood was still a hero), not even Emerald as a means of transitioning from murderous villain to the group's best bud. No, what's arguably the best action sequence in the volume thus far goes to beating up the guy they betrayed from the start. There's no catharsis for me here, only frustration as we watch Ironwood stand in shock as Winter powers up Nora — who's fine now, I guess — and she slams her hammer into his face.

It never should have come to this and when a good character is done so dirty, their downfall doesn't evoke the emotions the writers are looking for. Watching Ironwood fall doesn't generate feelings of victory, or even tragedy at a course of events others were powerless to stop. It's just frustration at watching years worth of bad writing, sprinkled with fantastic ideas that never go anywhere.

Oscar gets a few hits in, Ironwood snatches his cane, and just as he's about to throw a punch, Winter arrives with the most dramatic sword slash I've ever seen.

Ironwood's aura breaks and he falls, unconscious. We cut to an image of a droid's head separated from its body, one of Robyn's arrows through its skull. That doesn't have meaning or anything.

I suppose I should be grateful they didn't rip Ironwood's arm away during the fight, or outright kill him, though I'm still expecting him to die before the end of the volume.

Hmm. Wouldn't that be something? If after Salem's arrival, freezing cold, a Hound attack, grimm soup, a giant whale, a massive army, and a hack ending in self-destruction, the one character who actually dies is Ironwood.

It's looking more and more likely.

Honestly, beyond all the obvious, what's so frustrating about this fight is that characters are only now using their impressive abilities to their fullest. Emerald creates an entire fantasy of what's happening and then straight up disappears, but she only does a half-assed version of that when fighting against Penny. (And really, she put more effort into helping the heroes she just joined over Cinder, the woman she's been obsessed with since the start?) Marrow refuses to use "Stay" against a group they wanted to peacefully arrest because that's just too horrible an act, I guess, but he'll do it on his own teammates the second Qrow and Robyn don’t want to fight.

This is what I mean when I say the rules of the world bend to assist the protagonists in absurd ways. It's not nearly as egregious as Amity suddenly being up and running, but the fact that characters become substantially more powerful while fighting for the protagonists than they do against them is still a significant problem.

So Ironwood is down and out. As much as I hated watching that and didn't necessarily want more, am I the only one who felt like it was... a bit lackluster? I mean, the action was great, yes, but relatively short. There was no dialogue, such as another delve into the moral questions that led to this fight in the first place. There certainly wasn’t any hesitance against fighting a former ally. (Again, we’re meant to believe that the Ace Ops won because they just couldn’t bear to fight the group seriously, but every former ally here is capable of wailing on Ironwood without a single pause or pained look?) Ironwood just skillfully blocks for a while, is blindsided by Winter's betrayal, and then falls unconscious. Given that we learn he and Jacques will be evacuated after the rest of the kingdom, it's possible he'll escape somehow and we'll get a fight 2.0, but if not that feels like a rather tame end to the guy forced into the antagonist seat. Plus, what was the point of having Qrow frothing at the mouth to kill him this whole volume? I never wanted that to happen, I'm glad it hasn't, but I'm nevertheless left to ask why we bothered with that eleven episode side plot if we were going to erase it with one sentence from Robyn about Qrow being better than this. If that's all it took, let them work through Qrow's irrational anger while sitting around in a cell.

Winter tells the group to move onto "phase two" which is when we're treated to a flashback. We return to the ending of the last episode, with Ruby realizing that opening the vault is an option. Jaune, all smiles, goes, "We never considered using what's inside!"

This is what I mean about no consequences! This is what I mean about it all being a meaningless circle that ends with undeserved praise for the group! We started this horror show with Ironwood going, "We don't have a plan to protect the people, so I'm going to take what people we do have to safety" and the group going, "We don't have a plan either, but we're going to stop you implementing your plan because it's not perfect, risking a kingdom's worth of lives in the process." Now, the group has used two plans, one of which two characters knew about at the start and another they could have devised with the information they had. Oscar and Ozpin's, "We have an all powerful magical blast in our cane" and the group's "What if we used the Staff for something other than raising Atlas?" are both things that could have come up in the office debate. These were both always on the table! Instead, Ruby grew furious over the mere thought of cutting their losses, betrayed Ironwood again, attacked his people, denounced him to the world, and then two days later goes, "Oh wait! We could do something now that we could have easily done before if we hadn't made a needless enemy!"

Everyone realizes how much worse they made things, right? Turning against Ironwood, bringing everyone left in Mantle directly under Atlas, sitting around while an army was devoured, drawing it out until Penny was hacked... all of it would have been avoided if the group had thought and discussed things for a few minutes, not jumping straight to violently resisting what Ironwood came up with first. "We never considered..." Ruby says. Yeah, you didn't, except that's not something to smile about. The group made the situation a thousand times worse with their reaction when they could have just magically evacuated the kingdom from the start. “Maybe we could use it to save Penny and get everyone in Atlas and Mantle back to safety." Nothing has changed! They had this ability the whole time! Nothing about the last twelve episodes led them here, they just randomly thought of it after RT had padded the volume with needless drama. Considering that they're heading to Vacuo now, we could have just made this the finale of Volume 7 instead: big fight with Ironwood, revelation, get everyone evacuated while Salem attacks, leave her behind, then Volume 8 begins in Vacuo with the group knowing Salem is out there looking for them. This entire volume has been pointless. What did they accomplish?

Oscar got kidnapped and beat up, Nora was scarred, Ruby and Yang realized horrible things about Summer, and the whole world is panicking about a witch. Good things are... Ren and Ruby unlocked some semblance stuff? Weiss loves her brother again after he proved himself useful to her? Great work, team.

So this one moment makes everything they've done up to this point useless and, of course, once thought up the plan goes off without a hitch. Note that the summary of this episode says, "It's risky, dangerous, and nearly impossible — but it's the only plan they've got." Nearly impossible? That's a whole lot of talk for a plan that was implemented perfectly.

There is, admittedly, one snag, but one that is likewise made meaningless just seconds later. We'll get to that.

We see Winter call Weiss who also smiles at hearing from her sister. Obviously interactions like the group's with Emerald are the bigger concern, but it's still an issue that no one reacts as they should to people reappearing in their lives. Rather, RWBY continually confuses audience knowledge with character knowledge. We know Winter is on their side now, but Weiss hasn't a clue. Last she saw, she and Winter were agreeing to head down different paths. She has no reason to think her sister isn't loyal to Ironwood, so why isn't the group treating this call with suspicion? What if it's Ironwood trying to mess with them through a presumably safe party? I swear to god, with any consistency in the story this group would be dead ten times over because their decisions are so stupid. Oscar decides to believe in the guy currently beating him to a pulp, the group decides to trust a villain over a flawed ally, and now they see Ironwood’s second calling and are like, “Great, big sister Winter is checking in!” There’s a difference between a hopeful story filled with second chances and characters whose reliance on the narrative bending to assist them makes them come across as insanely naive.

None of which even touches on characters forgetting that other characters are presumably dead. Ironwood shot Oscar off the edge of Atlas, but doesn't react to learning he was kidnapped, or when he shows up to the fight. Thanks to Marrow's comment, Winter thinks YJOR have perished in the whale, but also has no reaction to them appearing to help with this plan. Absolutely nothing is followed up on.

We then get a flashback within the flashback (fun) of Winter — shock — not arresting Marrow. It's precisely as I assumed, with Marrow angrily asking why she hit him and Winter responding with, “Because you were about to get killed if I didn’t do something!” As I said last recap, I feel like I should let the marginalized groups lead this discussion, but I do want to add that no matter how well intentioned — or strategic, as I mentioned last time — the imagery itself is still harmful. No matter the context, we were still left with white woman Winter putting her knee on black man Marrow's back to arrest him, and it’s an image that everyone in the U.S. should be familiar with the horror of. Far more of a problem than the (presumed) ignorance of this scene is, I think, the choice to make Winter entirely unrepentant. I think some of this discomfort could have been alleviated if RT had written Winter as apologetic, contrite that it came to that and asking Marrow to understand that she only did it as a means of assisting him. Asking his forgiveness. Instead, we get this

So what, the only emotion we have room for is gratitude that Winter beat him up? Yikes.

As a lighter side note, I find the animation here unintentionally hilarious. Winter's assistive device makes her shoulders look too high, making this gesture more, "Woman exaggeratedly pouts about not getting ice cream for dinner" and less, "Woman sternly closes off during a disagreement about saving lives and betraying their general." Gotta find our humor where we can, right?

What's intentional, but far less funny, is the needless animation to show us that, yes, Marrow is peering at Winter calling Weiss. Oh, the shenanigans.

The elevator opens where Qrow and Robyn spot them. "Speaking of help," Winter says, as if she has any reason to believe Qrow didn't kill Clover. He and Robyn lower their weapons a bit, as if they have any reason to believe Winter and Marrow aren't still loyal to Ironwood. Would it really be so hard to have Winter immediately throw up her hands in the face of their almost-attack, blurting that she's not their enemy and needs their help, please listen? Again, RWBY can't remember which characters know what, let alone what their motivations and reactions should be.

We then enter the third part of the flashback where everyone piles into the Schnee dining room and discusses doing the things they could have done from the start. I'm metaphorically banging my head against that table. In RWBY's favor though, we also get a long shot of Jaune continuing to boost Penny’s aura.

Though it's only one of many issues, just the other day I asked, "Hey, why has Jaune always needed to hold onto the person he's assisting, but now suddenly he can touch Penny once and the boost remains?" It still doesn't explain why he was letting go before/why him needing to boost her continuously didn't put a hard time limit on their plan — not that Mantle's hour limit meant a thing — but at least they're showing more of that here.

Oscar notes that Atlas has enough gravity dust that it won't fall immediately when they use the Relic, but they will have to move fast to ensure no one is underneath. Yeah, like all the civilians you put there. He also cautions that the Staff isn't a "magic wand" that they can just wave to make all their problems go away... even though that's precisely what they're going to do. Ozpin gets some lines that aren't apologies or followed by attacks — hallelujah! — about how the Staff's spirit is a "character" and requires that you be able to precisely explain anything you want him to make. Blueprints, examples, a firm knowledge of how this will be accomplished — all of it is required to actually get what you're after. That's a cool limitation. It's just too bad we didn't know about it episodes ago, forcing our heroes to find ways to meet those requirements. Instead, they already have everything ready to go the moment they learn about it: Penny has her own schematics and Whitley apparently has knowledge of the entire kingdom after sending some ships out. Normally I'd go, "Really?" but I'm still just struck by how much good he's done compared to everyone else in this room. Your show is seriously broken when the side character the writers didn't even want the audience to like until a few episodes ago is more active, mature, and sensible than the heroes.

From there we see the group implementing the plan. They fly up through the hole Oscar left, straight to the vault. Penny opens it without any trouble and Ruby uses her speed to grab the Relic and stop time, halting her self-termination. I do like that combination of skill and their knowledge of how this magic works. That felt like a smart move. What's interesting though is that the Relic appears to stop time in the entire kingdom. We see people in Mantle and Atlas slowing to a halt too. I assume no one remembers that happening after time restarts, otherwise people would be freaked out by suddenly being frozen in place.

Wouldn't that have been cool though? The group often takes a while to use the Relics, either deciding what they need, or watching Jinn's information, so what if you had a population that blinks and suddenly, from their perspective, half an hour has passed? How long might Ozpin have sat on his knees after Jinn told him he wasn't able to defeat Salem? How long was that space frozen? We could have had a world built around rumors and fairy tales. Not the random stories Ozpin brings up to make a point and that we never hear about again, but tiny details that foreshadow these revelations. A Beacon where the kids tell each other spooky stories of people suddenly losing time, once a whole day. The wives, sisters, daughters, and nieces who disappear, or wake up one day with horrifying, unnatural powers. We see magic influence the world around it, but we've seen very little of the world reacting to that influence. The one time I can think of is Blake reading a book about "a man with two souls," the fiction clearly inspired by knowledge of Ozpin. And indeed, it felt great to recognize that as a significant detail and then be proven right years later as the lore was revealed. We could have gotten so much more of that if RWBY was better planned out.

I'm getting off track though. As time stops we see a series of images: Ironwood being led to a cell with Jacques, Penny succumbing to her hack, Team JNPR The Second preparing to contact the kingdom about what's going on. Then everyone is distracted by the giant, blue, buff Ambrosius who comes out of the Staff.

...there's a lot of innuendo in that last statement lol. At least RWBY is committed to the crazy design they chose? I was never particularly comfortable with the image of characters gaping up at a giant, naked woman in chains, so it's nice to balance that a bit with an equally giant, naked dude in chains.

From here things get confusing. In all honesty, I'm not sure if this is another moment where RWBY is trying to pass off a retcon as the group being brilliant, or if I, as an individual, simply didn't follow the logic. I won't bother to rehash the slow, meandering way that Ruby reveals their plan — that certainly didn't help with the clarity. Not in an episode where we didn’t even know these rules ahead of time — but it boils down to this:

The moment they have Ambrosius create something new Atlas will start to fall. Two of his creations can't exist at the same time.

He needs clear instructions about what he's making in order to create it.

The group has brought him Penny's schematics so that he understands how she's built.

They want, specifically, "a new version of her... using her exact robot parts."

They can't just create an exact duplicate of Penny because that would carry the virus with it.

They can't create an exact duplicate without the virus because that Penny would cease to exist as soon as they used Ambrosius to make an evacuation plan instead.

So they essentially want Ambrosius to create a new Penny by removing all the robot parts from the Penny that currently exists, carrying the virus with them, and leaving only the human parts of Penny behind: her aura/soul. Then, the purely robot version is destroyed when Ambrosius creates something new.

Except... this new Penny, this human Penny, still needed a human body. That's what Ambrosius created and that's the snag I don't understand. They want a version of Penny that's just her aura, just her soul, but that soul still needs something to be housed in. Ambrosius himself notes that. At first I thought the group would just have some wisp-like version of Penny they'd have to find a new body for — perhaps leading to a new one for Ozpin too — but she's just... given a human body when he takes the technology away, something she absolutely didn't have before. That is Ambrosius' creation. That is what should have disappeared along with the removed parts of Penny, leaving only her soul — what Ambrosius didn't touch — behind. Instead, the plot oh so conveniently has Penny get a new body for free and it's untouched as they move onto the next task.

Ruby drops a casual line about Ambrosius not being able to kill, or destroy, or something, which I think is meant to be the justification here. The rule (which, again, we JUST learned) about not killing anyone supersedes the rule of two creations not allowed to exist, allowing Penny to stick around. But even if that’s true, it’s a load of bull. What, does the magic think no one in an entire city might die if the floating mechanism is removed and it plummets to the ground? Ambrosius didn’t say, “Sorry, can’t stop floating Atlas because thousands of people are still here and they’ll die if I create something new,” but we’re supposed to believe the group skated by on, “Sorry, can’t destroy the last creation like everything else because there’s a single person still using that body and she’ll die if I create something new”?

Seriously, did I miss something? Or is this another, "Amity is ready because the group needs it" situation? The rule of creations ceasing to exist is bent because the group needs to have their friend around. Ambrosius is certainly enthusiastically complimentary, saying how "smart" the group is and that they've "done their homework," but I'm not so sure. It feels like a moment where the show is (once again) insistent that the group is far more talented and brilliant than their actions actually imply. It's only the rules of the world twisting and turning that allows for their success. To say nothing of how the episode dropped all these rules on the viewer in a ten minute info dump, ensuring we didn’t have any time to think about them before the deed was done.

It doesn't add up for me and honestly, even putting that aside? I hate this. I absolutely despise it. Look, if it turns out this really does make sense then props to the group for coming up with that plan. Our snag aside, the rest is a legitimately well thought out wish. I don't have a problem with the execution so much as the message. I've been saying since Volume 7 that RWBY has done Penny a disservice in terms of her "real girl" narrative. Whereas before we had a firm message that you don't need "squishy guts" to be human, to be real, Volume 8 continued to carry us further and further into the idea that it is necessary. That Penny's body is entirely inhuman, something to hate, but at least her soul is human and good. That's what the virus arc taught us: your terrible, technological body might be betraying you, but hold onto the parts of you that are really human. I hated that too, but I never thought RWBY would go this far. They made Penny fully human and went, “THIS is the version that always should have existed.”

And this isn't just me reading into the implications. It's right there in the text. Blake says that they're looking for “Penny, the girl who’s always been there underneath." Meaning, underneath the metal. The girl exists trapped in the robot body. Yang holds up her arm and says that the metal is only "extra," it's not really who you are.

That gets into two perspectives on disability that RWBY just doesn't have the nuance for: what's an integral and celebratory part of one person's existence can be seen as something separate and discomforting to another. Though there are many people with disabilities who would happily cure themselves with a magic Staff if given the chance, there are just as many who say no, this is a part of my identity. I don't want to change, I just want the world to accommodate my existence. However, RWBY takes a hard stance here, saying that any metal in your body is intrinsically bad. We didn’t use to have this take, but now the show has embraced it. Blake says the real Penny is trapped in there. Yang's words implies that she'd get rid of this "extra" bit of her if possible. Mercury with his metal legs is the enemy. Ironwood with half his metal body is the enemy. Whereas once difference was truly accepted, now it's shunned and fixed whenever possible. Those who can't be fixed, like Yang, must simply deal with the lot they've been dealt, reassuring themselves that the metal isn't really them. But Penny? Penny they can fix.

So they do and the very first thing Penny does is hug Ruby, exclaiming, “Do hugs always make you feel this warm inside? Wow. More!” and proceeds to hug all the others.

What's the underlying message there? Penny didn't understand hugs before this moment. She never experienced the "warmth" of them while an android, despite the fact that here warmth is entirely metaphorical and has nothing to do with a literally cold body. RWBY really went and said that the "real girl” android was never actually real at all — not as real as she could be — because it's only when she's given "squishy guts" that she understands the true happiness of a hug.

Wow.

I mean seriously, wow.

Never-mind that, you know, we've seen that happiness and warmth since she was first introduced.

RWBY is really rewriting all the core themes introduced in Volumes 1-3 and it sucks. The show is absolutely the worse for it.

To say nothing of all the other disservices to Penny's character here. There's all this buildup about whether she'll still be the same Penny once the wish is complete, but of course she is. We wouldn't want to have Penny struggle when she becomes something other than what she's always been, would we? After all, it took Yang an entire volume to work through the shock of a metal arm, but taking away a metal body for a human one is in no way traumatic. Having a normal, human body is intrinsically a good thing! Of course Penny accepts it with nothing but smiles. Becoming human is celebratory, but becoming more machine is a horror.

She gets to watch her body self-destruct, glitching out and collapsing in front of her. But again, nothing to unpack there that can't be covered with a hand over her mouth.

There's no discussion of whether Penny still has the Maiden powers, or whether a wish like that would mess with the transfer in any way. How did the group know this action wouldn't register as a clear-cut death, forcing the power out of her and into someone new? Obviously they couldn’t know, but no one even thought to bring it up?

And the entire time they're formulating their evacuation plan, there's no talk of whether these portals will appear before everyone currently alive in the kingdom. I mean, if they do then Ironwood and Jacques can just waltz through and escape into Vacuo. If they don’t, then Maria and Pietro don't necessarily have a way out. We still don't know if they're stuck floating in Amity, or if Amity crashed, or if they made their way back to Mantle or Atlas. More importantly, the characters don't know. I have no problem with RWBY keeping that a surprise until the finale, but I absolutely take issue with Pietro's daughter walking through a portal, seemingly not to care whether her father is going to make it out too.

It's been the same with Qrow and his nieces' relationships. The show is good at insisting that these families love each other because they hug and smile while on screen together, but when shit is actually going down, none of them care about pesky things like disappearances, arrests, or “The last time I saw you, you were with an old woman on a damaged station after a villain attack, potentially stranded in deadly cold if life support failed.”

So yeah, this entire arc with Penny has been a disaster. From throwing away her framing subplot, to giving her a virus that did absolutely nothing, to giving her the Maiden powers which she's also done nothing with, to erasing her android status for a “She's really human now” message, Penny has been done dirty by the show these last two volumes. Not nearly to the extent Ironwood has, but still. At this point I wish they'd just kept her dead dead. Why do I want her back when that resurrection produces no reaction, her conflicts lead nowhere, and one of the core things that made Penny Penny has now been magically erased?

I've been saying for weeks that killing Penny off and keeping Penny around each had serious downsides attached, yet I never expected RWBY to do BOTH.

Also, I'm warding off any, "But Pinocchio was made into a real boy too" defenses. RWBY is not Pinocchio. Penny is not Pinocchio. I thought the allusion was going to be the Pinocchio inspired girl heading into the whale, not the show forcing the exact plotline — down to a blue, magical creature — onto a character whose entire journey has been about accepting herself as an android. Congratulations, RT. You just obliterated years of work.

Again, if you'd like an example of how to do this far better:

As Penny's character falls apart, Atlas shakes, alerting Jaune and the other that a new wish has been granted. Jaune pecks at the screen and realizes "That did, uh, something…?” but doesn’t realize that there's a giant, red "LIVE" up in the corner.

Jaune tries to warn the entire kingdom about their plan, but what he actually says is

“Atlas is falling, but — !”

And then the communications cut out.

Watts, perhaps?

Our heroes are really good at saying things that make large populaces panic, huh? This is the one (1) snag in their "impossible" plan, but as said above, it doesn't amount to anything. We get a shot of Nora, horrified at the thought of kingdom-wide communications being down, but literally seconds later Team RWBY has made portals appear that everyone can walk through. So... why do we care about communications? More importantly, why does the show try to make us care? So much time is spent getting the viewer invested in problems that never come to mean anything.

Including the problem of Salem herself.

Because the group successfully creates that evacuation plan. This is it. Everyone is leaving while Salem still reforms.

Yang asks if they can use the vaults themselves as a single point for everyone to go to and Ambrosius agrees. So everyone is going to pile into the Vacuo vault that can only be opened by an unknown Maiden? They're going to put an entire kingdom's worth of people, including their enemies, into the vault where the Relic of Destruction is? Yeah, that's great. Prior to this — like if this had been the plan at the end of Volume 7 — I would have 100% agreed that these risks are better than death by Salem/grimm/cold. Now though, Oscar as axed Salem for an unknown length of time, the cold is having no impact on the civilians outside, and the grimm only attack background military personnel that supposedly no one cares about. They couldn't have spent another few minutes (especially with time stopped!) to figure out a means of getting to Vacuo that doesn't involve revealing and providing access to the location of a super secret vault? To say nothing of what they're going to do if Salem wakes up and snags one of those portals for herself. Two kingdoms for the price of one!

But that's what they're going with. Weiss gives Ambrosius a schematic of the kingdom, I guess, and he makes branching pathways appear with numerous portals for everyone to step through. They'll enter through one and, when they exit another, will be in Vacuo. Easy peasy, right? Especially since Ambrosius doesn't seem to have any limitations about how often his power is used. Is it three creations every 100 years like Jinn? We're not told, at least not to my recollection. However, I was expecting there to be a waiting period, that they'd fix Penny, go to evacuate the kingdom, and learn that sorry, I can't make another creation just yet. It feels like the sort of shit move these beings would pull — "Don't cry to me when it's not what you wanted" — it would have been another commentary on the group's insistence on putting friends over the people's safety (like demanding the Ace Ops not bomb the whale because of Oscar), and crucially, would have kept the action in Atlas. Isn't that what this volume is? The battle for and potential destruction of the Kingdom of Atlas? We have two episodes left and, unless something unexpected happens, we're moving that action to Vacuo. Why?

Meanwhile, Penny's corpse is just chilling in the background 😬

While all this is going on, Winter reassures Jacques that he and Ironwood will be evacuated too, though she makes it clear saving him was Weiss' idea. It checks out, considering Weiss is the one who turned her father's arrest into a joke last volume. Winter still takes his abuse seriously.

The group prepares to leave with a celebratory, "We did it!" from Weiss. I'm still banging my head against that dining room table. Before they can pass through the portal though, Ambrosius leaves them with one, dire warning: "Do not fall."

In any other story a line like that is a neon sign announcing to the audience that someone will absolutely fall, and maybe they will, but RWBY has dodged consequences so often I wouldn't be surprised if this was merely another way to string us along. Remember all the hype surrounding Salem? The cold combined with her army and magic? How she was going to decimate Atlas and leave our group broken in a Fall 2.0?

I mean, we still have two episodes left. Forty minutes of content. Salem might still decimate them, especially since something has to happen in the finale. But god, it's a problem that we've come this far without a payoff. Salem randomly decided not to attack anyone, was stopped by a weapon added in solely for this purpose, and now the whole kingdom is being evacuated with a plan the group could have used at the start. This volume really is meaningless.

“We go to vacuo and hope we’ve thought of everything” they say as the camera zooms in on Cinder's smiling face. For the second week in a row.

Bingo time!

Winter betrayed Ironwood, the group used the Staff of Creation, and I'm axing Maria on behalf of Pietro. You can't have the guy's daughter become human — after he was killing himself to give her his aura?? — and magically walk to Vacuo, not knowing if he's even survived since she last saw him, and expect me to think he hasn't been forgotten. Same with Maria. Has the group mentioned her since Amity cut out, notably for reasons they couldn’t explain? Of course not. Did they care to find out what happened? Of course not. I have no doubt they'll both re-appear in the next two episodes, Pietro crying over how perfect his girl is now and Maria congratulating the group on their actions, but we're still marking it.

This is the ugliest thing I’ve ever created, I hope you all are enjoying it :D

Another week, another couple feet added to the hole we’re digging. I know I keep saying I have no idea what's going to happen next... but I have no idea what's going to happen next. A Vacuo ending was not in the cards, not outside of them miraculously showing up in ships. Maybe they have been on their way to Atlas (somehow...) and will arrive precisely when everyone has left! Anything is possible at this point.

See you next Saturday, everyone. Hold on until then lol. 💜

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby creation

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stanharu · 4 years ago

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“With the Leonid Meteor Shower” - a Beastars short story written by Paru Itagaki

I translated the short story Paru wrote that the ED for season 2 is based on!! Both short stories for season 2 can be found on the beastars anime website under the “Music” tab.

I’ve put my translation under the cut, and linked my translation docs

“With the Leonid Meteor Shower“ google doc link

“Press Your Ears Against Your Chest“ translation / google doc link

Herbivores are actually very concerned about who may eat them.

No matter the time, place, or activity, being the target of predators is an herbivore’s world. 24 hours a day, 365 days a year, you could be eaten, or you could not be eaten. That’s just everyday life. Within this endless sense of imminent danger, a strange wish soon arises within the minds of us herbivores. Our position in life is one of prey. If that’s the case, I’d at least want to be eaten by someone I approve of… Wait. What do I mean by someone I approve of? My fiance? My family? A close friend? The male lion next to me driving the car?

Currently I’m on a quiet drive alone with Ibuki. He is a lion, I am a deer. When I think back to the way Ibuki’s expression changed when I said I was leaving the Shishigumi, Yeah… It’s possible I may end up getting eaten by him in this car. Do I feel fear right now?

“Boss, are you feeling hungry? I can see a restaurant up ahead, should I make a stop?”

“I’m not hungry. Keep going.”

Did he purposefully give me a chance to escape? Or maybe he isn’t planning on eating me at all. Somehow, I don’t feel hungry at all. In the face of one’s instincts, strategy is futile. I’ll face this lion just as I am.

“What about you, Ibuki? You’re not hungry?”

“I’d be lying if I said I wasn’t.”

Do you want to stop at the restaurant? Is what I wanted to say, but of course I didn’t have the nerve. I won’t approach the heart of the matter. In the end, this apparent bargaining session passed by within this pitch-black car. It’s like a hearse, I mutter in my mind before realizing the high probability of this car becoming a hearse in the literal sense in a matter of seconds. I feel my face tense up again.

“Are you cold?” Ibuki asks another question, glancing at me from the side of his eye. Even though I’m never one to reveal my true desires, I felt as if I was being pulled along into an elaborate scenario in which he would feel naturally compelled to prey on me, and I got oddly irritated. If I give the wrong answer, those fangs may tear open my throat. My back is getting damp. I’ve never experienced a moment this agonizing before.

“I’m not cold. Stop asking so many questions.”

“I’m sorry… It’s just that carnivores have a higher body temperature than herbivores...”

In an instant, Ibuki’s voice reverts back to the usual tone I’ve grown used to hearing, and without thinking I meet his gaze.

“Besides, you’re also sensitive to the cold, Boss.”

“You’re not one to talk. All that silvervine you all do has thrown off your ability to regulate your body temperature.”

“I’ll keep that in mind.”

Ibuki laughed. He’s normally poker faced, but surprisingly, when he laughs he doesn’t hide his fangs. I catch a fleeting glimpse of those large canines, and I also start to feel better. The joy of seeing a friend smiling, and the fear of seeing a natural enemy’s fangs come into view, are feelings equal in purity. Here I felt a calm friendship between myself and Ibuki, and I thought that if it were by him, I wouldn’t mind being eaten. If it comes to that, I’d like for him to go all out with one bite, rather than be treated with his usual modest kindness.

The car drives further and further onto a dark road, my vision being slowly taken away by Ibuki’s driving. Herbivores can’t see in the dark. There’s absolutely no way this male lion living in society’s underworld doesn’t know such common knowledge; And if the man who worries over whether I’m hungry or cold is starting to let his sadistic side run wild, then fine, so be it. My position in life is one of prey after all. It is much more meaningful to yield yourself to be eaten by someone you approve of rather than by some random passerby.

Ibuki’s golden mane catches the meager amount of light coming from outside the window, and shines in the dark for just a moment.

“Louis… you saved me.”

I was wrong.

The flash of light I saw wasn’t his mane, it was Ibuki’s tears. It wasn’t a shooting star, no wish would be granted, they were just the tears of a male lion. How could that be so beautiful? How can the tears of a clumsy man who can’t resist his own destiny be so… Just eat me already. It’s an herbivore’s wish. Please eat me.

“I’ve stopped the car… Now, if you don’t shoot me, I’ll eat you alive.”

From your point of view, a scrawny deer holding you at gunpoint must look ridiculous. Laugh for me. Show me your fangs.

“... I can’t do it, Ibuki… I can’t shoot you...”

“I see… In that case...”

A window shattering gunshot and glass shards. The lion’s mane, in the same instant the gun was fired, is bathed in a brief moment of intense light, and a beautiful golden color explodes right before my eyes.

What a ruthless shooting star.

I guess he didn’t intend on granting my meager wish in the first place.

In the darkness I clung tightly to that beautiful mane, to the gentle golden comet that burned out in my hands.

#beastars #paru itagaki #louis #louis beastars #beastars louis #ibuki #shishigumi #ibuki beastars #beastars ibuki #prepare to be sad yall #also this story is set during ch92 #its REAL SAD HOURS #steph translates

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florrickandassociates · 3 years ago

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TGF Thoughts: 5x03-- And the court had a clerk...

Hello again! It’s nice to have this show back. This episode was a bit less of a standout than the previous two, but I’m still happy with the overall direction for this season. More under the cut (or here, because tumblr sucks).

When Robert King tweeted the episode title, I asked him if all the titles this season were adding up to one long sentence/story, hoping he’d confirm it and give a little more information. He did! He said it’s “in the Farmer in the Dell mode” and while I think I get what he’s saying, I’m very curious to see how it plays out. Haven’t been able to track down 5x04′s title yet, but the promo is out. (As of this morning! It’s interesting they’re not putting them after the episode this year; I kind of like it.)

Kurt’s job is up in the air given the new administration. I think this scene exists mostly just to remind us where Kurt works and the stakes.

What month is this supposed to be in? The transition seems recent but no one is wearing masks.

Kurt spots a poster asking for help ID’ing people at the Capitol on January 6th. He thinks he recognizes someone...

And now we’re in case of the week land. This case is about a small business owner whose business went under after someone created fake news articles accusing him of pedophilia.

I think the whole point of this (kind of long) scene is to show that this case is a pretty small deal. Low stakes, inexperienced opposing lawyer. (Not even sure why Liz would be arguing this in court, but whatever.)

Tbh I thought this was going to wind up in 9 ¾ court.

Now that we have junior level characters, we get scenes showing that there are, in fact, people at RBL who are mid-level. Liz asks an associate to work on something, he asks another associate to work on it, she delegates to other associates, and they delegate to Marissa and Carmen. This work seems terrible.

It’s so funny to me how this is probably more realistic than most of the lawyering on the show and yet it only shows up selectively. We only see the hierarchy here to make it clear that Marissa and Carmen are at the bottom.

David Lee interrupts and asks for Carmen. He’s very rude to her. Interestingly, she’s hesitant to leave her grunt work and follow David, even though she must know he outranks the associate who gave her the grunt work.

“Why am I supposed to know you?” David asks her as they walk through the halls. “I don’t know if you are,” Carmen responds. “Why does Benjamin Dafoe know you?” he asks. She doesn’t know who he is.

“Who are you?” Dafoe asks when Carmen enters. She states her name, again. “Why are you important?” he asks. “I don’t think that I am,” Carmen responds.

Then Dafoe says his top client, and it’s a name that the characters all know. I’m glad this scene is free of any “he’s the white OJ” expository lines (that’s from Sweeney’s introduction) -- it’s clear from the reactions and the discussion of police and rape that the top client is a bad guy, probably a rapist. The rapist wants Carmen to represent him.

Putting 2 and 2 together, Carmen asks if the rapist knows Rivi. He’s not, but he’s at the same prison. As soon as Carmen says she’s representing Rivi, David Lee switches gears, understanding the situation and trying to sign the new business. He’s so shameless!

Marissa sorts ALL the papers. There are a LOT of papers. I’m swamped. Look at all this paper.

She catches the associate who assigned her the task leaving for the night just as she finishes up, and cheerfully notes she’s finished the task. Then the associate mentions this was only half of the bills. Marissa does not like that. Since her goal in wanting to be a lawyer is mostly just to give her something exciting to do and earn respect... this hierarchy thing is not going so well.

Marissa decides that after her rough day, she’s going to stop by Wackner’s court. He’s in the middle of a case about Emily in Paris fanfiction and he’s very happy to see Marissa.

Wackner’s night court has a program—it notes the sponsor is Copy Co-op (I thought it was Copy Coop?) and the paper products were also provided by them. And “there will be regular intermissions at the discretion of Judge Wackner.” It’s very theatrical.

Wackner takes a recess and calls Marissa to his “chambers.” He asks for her thoughts on the case. “All they want is attention and to feel like they’ve won,” Marissa notes. Wackner’s on the same wave length and compares it to the Scarecrow’s diploma at the end of The Wizard of Oz. So, he makes copyright certificates and some minor modifications to each of the fanfic books. They say “I respect you and I love you” and that’s that.

Wackner catches Marissa before she leaves and asks her to be his law clerk—part time or full time, 10% of all the legal filings and unlimited use of copy machines. She is hesitant because she “doesn’t even know what this is.”

Wackner says his court is “the future.” Marissa turns him down; notes she wants to pass the bar. “You know why all these people are here? ‘Cause the courts and the lawyers and the appeals have made justice... unattainable. Out of reach. To anyone who doesn’t have a shitload of money to wait it out. That’s why Exxon beats out Mr. Nobody. Read Kafka’s Before the Law.”

I just read it, and you should too! It literally is a page, but tl;dr, there’s a man who wants to get to the law and instead he spends his whole life trying to win over the first of many gatekeepers on the path to the law. He never gets through the gate.

“Justice is only just if it’s available to everyone,” Wackner says. Marissa thinks about that.

As I said last week, it’s smart that Wackner makes so much sense. Hearing him say all this, knowing that it’s true... it makes it very easy to get on board with the thought experiment. Of course there would be huge repercussions to this kind of system, but it makes so much sense it’s compelling TV!

Kurt’s showering when Diane gets home, which gives her time to stumble across the WANTED poster and notice that Kurt has drawn facial hair onto one of the pictures. “Who is this?” she asks him. “No one,” he says. “Well, you drew in a beard and a moustache on him,” Diane notes. Kurt says he was doodling, but Diane calls him out as he is the “exact opposite of a doodler.” Kurt says he thought it was someone he knew, but he’s not sure. Diane pushes him to tell the feds. Kurt reiterates he’s not sure, but it’s someone he went shooting with. “Oh my God, then it’s him,” Diane jumps to (not incorrect) conclusions. Kurt says he didn’t talk that way; he’s a veteran. “Kurt! That’s the profile!” Diane argues. Kurt isn’t convinced and he doesn’t want to be responsible for naming names. He notes he’ll be threatened with indictment for not naming names and then only lawyers will end up benefitting. Diane is not convinced.

I think this is an interesting conflict for Kurt and Diane. I understand why Kurt is hesitant to speak out before he’s sure. And I understand and agree with Diane that it’s important to identify the attackers and prevent anything like that from happening again.

I don’t mean to blame Kurt, exactly, but I feel like all of what happens next could’ve played out differently if Kurt had been just a little clearer with Diane about why he was hesitant to ID the man. Like, the threat of indictment for not naming names sounds like some typical anti-government rambling. Saying you specifically are afraid that this will turn back on you and you need to weigh your options and come up with a plan first would put Diane in a very different mode, in which they’d work together to craft the best strategy. Because this man would’ve been ID’d by someone, sooner or later, and Kurt would’ve needed to be prepared.

Diane stares at the wanted poster at work and asks Jay to find his identity. He’s on the FBI TEN MOST WANTED? Ten!? Ok!

Diane shares the extra information she has—the gun range and that he’s a veteran—and Jay gets to work.

Turns out there’s no money in the case that Liz, a name partner, is working on and Marissa just spent all those hours sorting bills for. I could’ve told you there was no money in that case lol.

Jay IDs the guy very fast. He’s faster than the feds because they didn’t know where he shot. The range had his license on file, and Jay got ahold of it.

“Well, we don’t pay you enough,” Diane says. “Oh, I know that,” Jay laughs.

Diane says she’s going to think about calling the feds—it's definitely the same guy.

Marissa notes someone high profile (David Cord, who I presume is a thinly veiled stand-in for David Koch given the name, his role in the plot, and the fact that he is “David Cord of the Cord Brothers”) in the lobby giving a fake name and goes to tell Liz.

David Cord is performing magic tricks for the receptionists (they don’t recognize him) when Liz and Marissa show up. “I knew your father. I hated your father,” Cord says. “Yes, well, he hated you too,” Liz says. He says he gave a fake name to see what the reception would be like since he’s kinda infamous.

Liz introduces Marissa as one of the law clinic lawyers. Marissa knows what to say in this situation. Specifically, she knows that it is the exact right moment to name drop her father.

“Democrats as far as the eye can see,” Cord notes. At that, Liz asks Marissa to get Julius involved.

More good expository work! (No, editor feature of Word, I do NOT want that to say “Better expository work,” that would change my meaning, go away and please stop grading my recap??? I don’t know how I brought this up but it’s telling me my score is 72%, so a C, and it’s driving me crazy. Oh, now I’m a 71%. It had me at like, 50%, because I had written “Wackner” and “Wackner” is not a word. No shit.)

Anyway, back to the exposition. I like that we don’t get a line like, “Liz! David Cord, the Republican super donor, is here!” We just get to see Liz’s reaction, Cord’s hate of Liz’s father, and the line about democrats. Then it becomes clearer who Cord is.

Just noticed Liz is wearing an Apple Watch.

Liz stands for her meeting with Cord, likely to maintain power. Cord says January 6th changed everything to him and now he’s all about unity and loving America.

Cord has something to say about Liz’s case, the one that’s not making any money, and he seems to know quite a lot about it. That spooks Liz.

Then Cord offers her $12 million to continue the case for another six months (all of these months, seemingly, will play out in the couple of days the rest of this episode takes, but, whatever). He just wants them to go after the social media company that distributed the fake news... and Section 230.

Don’t know what that is? Now you do, because there is a Good Fight short! These work so much better when they’re actually needed (explaining concepts, etc.) than when they’re trying to force one into every episode (remember that Downton Abbey one? What... was that?)

I was talking to @mimeparadox about this short and he pointed out that this short has a VERY clear POV on an issue that actually doesn’t seem to be all that straightforward. If you’re like me and only had a vague sense of what Section 230 was prior to this episode, this short is telling you what to think of it—it isn’t just explaining what it is.

I do tend to agree with the show’s POV on most things, but this is an issue I’d like to read more on. I love how Section 230 was something I hadn’t really read up on prior to this episode and now that it’s been on TGF I realize it’s something that actually, yes, I would’ve been interested in knowing about earlier. Is this because things that are on TGF are interesting to me because they’re on TGF or is it because TGF generally only discusses things that would be interesting to me? Probs a little bit of both.

Diane asks Jay how to make an anonymous phone call and he hands her a burner phone. She calls the FBI with the rioter’s name. She doesn’t leave her name and then she dumps the phone.

Credits! Did you catch there’s a Jordan Boatman in the credits? She plays one of the associates who passes down the grunt work to Marissa, and she’s Michael Boatman’s daughter in real life! She’s also been in one other episode, in season 3.

I never get tired of these credits!

The RL partners (and some associates who are on the case? I think these are the same ones who delegated the work to Marissa?) debate whether or not they should take Cord’s money. Madeline notes that he’s funded a lot of Republican campaigns; Julius notes that both Republicans and Democrats agree that Section 230 is flawed and this is an opportunity for unity.

Diane notes that the right doesn’t want to stop conspiracy theories from spreading, so is this really that bipartisan? “It would help if the boomers would stop falling for those conspiracy theories and sharing it with their friends,” an associate (I believe this is Michael Boatman’s daughter again) notes. That quiets the room and the partners all glare at her. Yeah, that was a kind of stupid thing to say. First of all, it’s just not appropriate to say to the partners, and it’s also, like, missing the point? If it’s easy for conspiracy theories to spread among boomers, maybe just expecting each member of that generation to suddenly have a millennial’s understanding of the internet is the wrong strategy? Maybe there’s some structural issue here? That maybe, just maybe, this case is actually about?

The associate also points out that the internet is currently a place where people can speak out about sexual harassment-- “they repeal section 230, and there would be no #MeToo.”

One of the partners says he doesn’t believe that—if they regulate section 230, then newspapers can actually be competitive and there’s still free speech online.

“We’re not going back to reading newspapers, grandpa,” some associate says. What the actual fuck, dude? Who talks like that to their boss?! It’s so condescending. He’s also wrong! “Newspapers” are not just physical things... reporting by major publications still matters and will continue to matter. Like, is he suggesting that in the future all news will just be random people tweeting things they think are true with no fact checking or curation? Sure, journalism is struggling right now—but I don’t think that’s because there’s a lack of desire for well-reported news.

I am glad the partners call him out on saying “grandpa” and honestly I’m shocked he isn’t asked to leave the discussion after that rude remark. Unless this young looking dude is a partner too? But I don’t think he is.

Julius notes that if they’re going to pursue this case, they need money like Cord’s. At that, Liz starts to leave the meeting. “We haven’t decided if we’re taking this Cord money yet,” Madeline protests. “Of course we are,” Liz says and leaves.

Now that’s more like it! I’m not sure if this is necessarily the best way to handle this, but she’s a) correct, they were always going to take the money because it is $12 million and an issue of interest and b) using her authority. Should Liz be making decisions totally on her own? Maybe not. Does Liz making this decision and then leaving (with everyone accepting that she’s correct) cut through a lot of bullshit and establish Liz as the one in charge? Yup.

Diane says, “Ooh-kay” with a little bit of an eyeroll after Liz exits, but she’s still laying low. I think in a different season Diane might’ve tried to push back.

Is it me or does Baranski get a lot of material this episode we haven’t seen before? Lots of really good reaction shots/tones in this episode I don’t really think we’ve seen from Diane before. I’m impressed there’s still new stuff after 12 years.

At some point maybe I will actually write the essay I’ve been wanting to write for ages about how TGF is still so relevant despite being in a universe that should be showing its age by now. I wish I could find the first time that I called TGW a period piece set in the present day (I know it would’ve been during season five) because I think that’s the key to TGW/TGF’s enduring success. The shows always feel timely because they try to capture the present moment (which is, of course, always changing) and don’t get stuck in any one moment in time. Further, the fact that the writers are always so tuned in to events and skilled at quickly reacting to what happens in the world makes them VERY good in a pinch, which is (I think) why they’re able to make the most of unexpected situations (Josh leaving TGW, the pandemic).

Liz and Julius bring a suit against ChumHum to attack 230. Judge Friend is initially skeptical of their argument that 230 is unconstitutional; then she’s intrigued. I am too. This argument about the press is a very interesting one. I obviously have a lot of reading to do on 230, but my take after this episode is pretty much that social media platforms have to be held responsible in some way, but I don’t think it’s feasible or desirable for them to be responsible for every single one of billions of posts. I think there has to be some way to regulate social media giants that would allow everyday people to share things and speak out but would prevent the curated (even by an algorithm) spread of fake news and make social media giants accountable when there are very public bad actors using their platforms. What that regulation would be I have no idea. I just refuse to believe that our options are to give the social media sites full immunity or to regulate the internet so strongly that no one is able to speak freely because all the platforms are worried about lawsuits.

Over at the VA, people are being fired. When Kurt gets into his office, Madeline Starkey (wait, are there two characters named Madeline in this episode?) is waiting for him. She’s still very quirky and scary.

Starkey says the guy that Diane reported is now saying Kurt trained him on using assault rifles and buying ammunition in bulk. Kurt notes these were topics covered in a group setting, which Starkey knew—and what she’s really after is the names of the others in the group. (She may already know them, since she knows there were five of them.)

Kurt refuses to name names and just stares at her.

Case stuff happens! (I liked the last two episodes a lot but it’s much faster for me to just write, “case stuff happens” for some of the scenes.)

Hey, surprise Aaron Tveit! (Not really a surprise; he is in the credits. But still yay!)

I don’t really know why Liz and Julius are talking about newspapers specifically and not all types of fact-based journalism/press? I feel like their argument is most convincing when it’s about actual newspapers (especially local ones) but still would apply to cable news...

Marissa’s still hard at work sorting papers when the associate comes back in and informs her she can stop; they’ve changed strategies and everything she’s done is now irrelevant. She also says “I forgot to tell you” at the start of that thought, meaning that she neglected to tell Marissa this important information earlier and wasted her time. Marissa is not pleased and so she goes to Wackner’s court, where Wackner now has a deli ticket machine and is wearing super-sized novelty sunglasses. Why not!

He sees Marissa and calls a five-minute recess. In “chambers,” Marissa tells him she’d like to work for him part-time but keep her RL job.

Wackner needs her help processing more copyright certificates. He’s priced them competitively at $20 and found that a lot of writers want these certificates, even though they have no legal value. (Neither do actual copyrights, Wackner notes. And he notes that if anyone plagiarizes, they can sue in HIS court.)

“Marissa, I’m building something here. I want you to join me. I want your advice on cases. I want to bounce legal theories off you,” he says. “What are your legal theories?” she asks. “I don’t know. That’s why I need to bounce them,” he says.

Marissa gives him from noon to 2 and 5-7, which seems awfully ambitious for someone working at a law firm!

“That’s how revolutions are made. Back rooms of copy shops,” he says, accepting her offer.

Kurt is sulking in the dark when Diane arrives home. He lets her know about Starkey’s visit and she immediately goes into lawyer mode. Notably, this scene does not spend much time on how Starkey found out the rioter’s name. Curious if they’re saving that for later or if Diane and Kurt both know what Diane must have done or if Kurt think’s it’s a coincidence.

Kurt SET UP A TOUR OF THE CAPITOL for one of the veterans in his shooting group, and that tour was ON JANUARY 6TH! I really do wish he’d told Diane that upfront.

Maybe the long pause where Kurt refuses to tell Diane which congressperson arranged the tour even after she promises she won’t say is him letting on that he knows that Diane ID’d the guy? Or maybe it’s just Kurt.

I do not like the dead birds in Starkey’s office, mostly because I do not like thinking about dead birds.

Starkey compares Diane and Kurt to the Conways.

And now more case stuff happens.

Julius gets to question a witness for the first time in two years! He’s a little shaky at first but then he does a fantastic job! Yay Julius!

When Diane arrives at the office, reception is filled with around a hundred teddy bears. “What?” she asks. “Build-a-Bears. They were sent to Marissa,” the receptionist explains. “Okay... why?” Diane asks the logical next question. The receptionist does not know.

“This one’s a Marissa bear,” she says, showing Diane a bear wearing boots and a wig. It does not look much like Marissa and it says “Hug me.”

Diane looks confused and furious at the same time. Her look here is, like, a milder version of the death stare she gives Alicia in Outside the Bubble when she learns about Alicia and Cary’s plan to leave.

“Why don’t we, meaning you, take all these stuffed animals and put them in the conference room,” Diane instructs the receptionist. She is NOT! HAPPY! The receptionist seemed to be having fun with the bears, but clearly the right answer was to have done something with them and... not to have put them over every surface in reception. Eeek.

Carmen’s new client, the rapist, arrives at the firm before anyone can hide the bears. “This may not be the firm for you,” his advisor/lawyer (I’m not totally sure what this dude’s job is) warns.

Madeline notices the rapist and glares at the receptionist. “I know. I’m putting them in the conference room,” the receptionist says, thinking Madeline is upset about the bears. She is not upset about the bears.

Diane finds Marissa, who’s working with Carmen again. She asks Carmen to give them a moment.

“Why are there hundreds of teddy bears in our reception?” Diane asks. Marissa is confused. Diane shows her the Marissa bear. Marissa looks horrified and amused. “That doesn’t even look like me,” Marissa notes, completely missing how pissed off Diane is. I don’t think we have seen Diane be this direct/no-nonsense in ages.

“That would seem to be beside the point. What is going on, Marissa?” Diane demands. Marissa suspects this is based on some advice she offered to a client who was buying a Build-a-Bear franchise and thinks this is a thank you gift. “What client? You’re not a lawyer! Why do you have clients?” Diane says exasperatedly.

Marissa gives her a look, and Diane immediately understands that she’s been back to Wackner’s court. “Oh my God, this is about that Copy Coop court?”

“Marissa, no. By participating in that simulacrum of a courtroom, you exposed this firm to malpractice, sanctions, and God knows what,” Diane says. If that were really true, she wouldn’t have sat there and argued. I mean, I don’t know the legality of this all, but I feel like it’s a bigger optics issue than legal issue if Diane and other lawyers are willing to even consider participating?

“If you wish to continue your employment at this firm, you will never do anything like that again. Do you understand?” Diane says. She will not hear any arguments.

I love that Marissa is the thing that keeps Wackner coming back. It’s a good plot for her, but structurally, it also allows the show to keep Wackner around without many contrivances. Wackner sees that Marissa would understand what he’s up to, she sees that he shares some of her frustrations with the law, and they both want to work together again. It’s not like suddenly everyone’s talking about Wackner’s court and all the cases somehow end up there or anything.

The receptionist, who is having a truly terrible day, comes into announce that Kurt and Starkey have arrived. “Don’t put them in the conference room!” Diane commands, knowing that the teddy bears will be there. It’s too late, though, because the receptionist (who previously seemed to be fine at her job if bad at recognizing public figures and understanding that partners might not find teddy bears amusing) has already put them in the conference room. I feel bad for her, and don’t think the other things were her fault, but I feel like she could’ve seen this one coming...

I find the teddy bears HILARIOUS, mostly because the reactions to them are so funny. It’s kind of the same gag as the balloons for Lucca in season two, but I don’t really care, because I’m getting to see Diane Lockhart treat hundreds of Build-a-Bears like they are a real work problem.

Starkey jokes about the bears; Kurt is silent.

The rioter from the poster is now accusing Kurt of coming up with the STRATEGY for January 6th, which Kurt and Diane both dismiss as bullshit.

I could do without Starkey’s musical cues.

I can’t tell if Kurt is in trouble here or if she’s just pressing him to name names. Why wouldn’t she just have rioter guy name names if he’s so eager to blame Kurt? I guess maybe if the others were actually there, he might be less likely to name the names of his actual co-conspirators? Or, Starkey might already know the names (surely the shooting range has logs) and be using this to raise the stakes.

No one (except maybe the partner named Daniel) is happy about the rapist in reception. “Since when are we representing people like Wolfe-Coleman?” Julius asks. Didn’t these people help both Sweeney (though I think Sweeney was in some weird police brutality case and they didn’t actually want to represent him) and Bishop? And Rivi? But they draw the line here? Sure.

Ah, there we go, an expository line-- “he’s the next Jeffrey Epstein”. Almost made it the whole episode without one of these. I’ll forgive it since it’s so late in the episode lol.

“Did you approve this, Liz?!” Madeline demands. Liz did not. Daniel wonders if that means Diane approved it. Liz doesn’t think so and calls Diane (who happens to be walking past) in.

“I know, the teddy bears. I’m working on it,” Diane says when she opens the door. I think the teddy bears are a bigger issue to Diane than to anyone else.

Diane didn’t approve representing Mr. Rapey either. She’s uncomfortable that a meeting was happening without her; Madeline notes that she is standing there specifically because they wanted to involve her.

David Lee pops up out of nowhere with the answer: one of the new associates (not Marissa, “the real one”) pulled in Mr. Rapey. Are there only two associates now even though orientation was for a big group?

Firth is gone, btw. David Lee is the new Mr. Firth. I have no idea why David would want to be STR Laurie’s guy for managing RL but... sure, whatever? David Lee is an effective antagonist, especially in small doses, and this allows the writers to keep him around and continue the STR Laurie plot without a key guest star. If STR Laurie is still a thing, and it seems like it is going to be a thing for a while, then having David Lee take on this role makes sense for plot. Otherwise they’re going to have to shoehorn him in to every plot somehow. At least now he has a reason to be around.

Liz and Diane take a walk to chat. Diane is worried about having David as their boss. Liz says she has a worse worry—David Lee knew exactly when to come downstairs with information, suggesting he know what they were talking about. “Would he do something like that?” Liz asks when Diane wonders if there’s a bug. “Oh, yeah,” Diane replies. Hah, yeah. He absolutely would.

They decide to have Jay search for bugs and Liz is frustrated with how much time they have to spend on things other than lawyering. Yup.

“What is going on with all the teddy bears in the conference room?” Liz asks as they head back to the office. “It’s a long story,” Diane sighs. I also love that the teddy bears link the various pieces of the episode together—it feels like all of these threads are happening simultaneously because of that constant.

I don’t get RL’s approach to clients. Bishop and Rivi are ok, Wolfe-Colman is not (except that actually he is fine). Cord is okay too. Do they draw the line anywhere? I know Liz was right when she said that OF COURSE they were taking the money, but is there really nothing that differentiates that situation from this one? I feel like there should be.

Marissa goes back to see Wackner. Since someone refuses to say “I respect and I love you,” Wackner reverses his ruling. This is part of the “Bad Loser Law of last Wednesday,” so the rules of Wackner’s court are clearly a work in progress.

Marissa explains she can’t be the law clerk because of Diane. She tries to connect him with a real lawyer, still not understanding exactly what Wackner’s after. “You know just enough not to crush what I’m doing here,” Wackner explains. “A real lawyer will look for reasons why not. I need someone to look for reasons why.”

Case stuff happens. I cannot read Cord’s handwriting. Liz and Julius lose the case because Judge Friend says what’s happening isn’t fair, but it is constitutional. (So here we have, at least in the show’s POV, a good and attentive judge who can’t make decisions that make sense because she’s bound by a document written before anyone had ever dreamed of the internet.)

Cord is waiting for Liz in her office. He’s prepared to bankroll an appeal. Did they blow thorough that $12 million already? Impressive; it’s been like a day.

Cord says they are definitely the firm he wants. Interesting.

Now Liz wants a meeting with Carmen, so it’s Marissa who leaves the room. This scene seems like it was meant to be a different day?

Liz wants to talk about Mr. Rapey. Carmen is, yet again, chill about the case. “Carmen, is there anyone that you would not represent?” Liz asks. Funny, Liz, I could ask you the same. Being hesitant about it is not changing the fact that you’re representing bad people. Carmen’s just cutting the bullshit.

“I don’t understand. Is there someone you don’t want me to represent?” I love how Carmen’s incredibly polite responses always seem very pointed. There is absolutely nothing wrong with Carmen’s reply, and yet it puts Liz in a place where she can’t dance around what she’s trying to say.

“I’m just trying to get a sense of who you are,” Liz explains.

Then Liz decides she’s going to help on the Craig Wolfe-Colman (Mr. Rapey) case, and they will keep talking about her career path. Liz, this does not seem like the right solution! You're worried about your associate representing bad people so you’re like, I know, what if I ALSO represented bad people? If your goal is to convince Carmen not to take clients like this, you’re kinda shooting yourself in the foot!

“Are you worried about me?” Carmen says, again turning things on Liz. “I don’t know what I am about you,” Liz replies. Me either. Well, I know I'm intrigued, but beyond that, no clue!

All the bears have ended up in Diane’s office, where Wackner is waiting. He jokes about how his court is always seen as informal, yet this real fancy law office is covered in Build-a-Bears. Then he says he wants to hire RL—he's willing to pay. He wants consultation from Marissa (“consultation on legal issues”) and he’s prepared to spend a lot. And, if there’s one thing we know, it’s that they’re always going to take the money. So, they do.

I love that Wackner’s goal is to “perfect my little clubhouse of the law.” It’s a fun plot, and it also allows for the rules in his court to change (I’m sure we’re going to be treated to/subjected to a lot of whimsical gags around changing and ridiculous rules). It's also a good way to work through the thought experiment over the course of the season. It’s not like Wackner already has a system set up and it’s perfect—I'm sure we’re going to see his system run into issues and explore that more, too.

Wackner monologues a bit here about why he’s running fake court, and he lets us know he’s going to monologue. Basically he thinks people no longer want to help people and are only motivated by their own self interest. He notes that no one talks about the Peace Corps anymore and asks the last time Diane heard anyone say those words. I’m sure I’ve heard a reference more recently but my mind went RIGHT to season one Cary Agos saying “Peace Corps. Belize,” as some kind of smarmy pickup line. This is likely not where my mind was supposed to go.

Wackner wants “A new Peace Corps. For America.” Diane’s sympathetic to that and agrees to take him on as a client.

Wackner asks if he can take a bear. Diane instructs him to take two.

Aaaand Wackner and Cord end up on the elevator together. Wackner hands Cord a bear, the elevator doors close, and the episode ends. Since last episode ended with Marissa and Carmen in the elevator together, I’m hoping this will be how every episode this season ends. I think using the Kings’ favorite liminal space to transition between episodes is kind of fun, and it fits with the ellipses at the end of every episode title.

Speaking of... did you see today’s elevator-themed episode of Evil? It was written by the Kings. Those two have been obsessed with elevators for at least a decade.

#the good fight #tgfthoughts

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longitudinalwaveme · 3 years ago

Text

Longitudinalwaveme Reviews Some More Old Comics (and One New One), Part 2

Batman #321, “Dreadful Birthday, Dear Joker...!”

The story opens with Commissioner Gordon receiving an invitation to the Joker’s birthday party. “Black tie optional, funny hats mandatory”. A few seconds later, everyone in police headquarters doubles over laughing, the victims of Joker’s, well, Joker gas.

Batman is on the scene only a few seconds later, and starts punching out Joker’s goons. Unfortunately, by the time he’s finished doing this, both Joker and Commissioner Gordon have disappeared.

Eminently Quotable Joker: “Ah---the Batman! What an expected surprise! And what a waste of a perfectly good window! Couldn’t you have used the door?”

As Joker leaves in his Jokermobile, the police officers tell Batman that the Joker also captured Robin earlier that day (by pretending to be a woman with car problems!)

Meanwhile, Selina Kyle, Lucius Fox, and Alfred are talking when the Joker bursts in and kidnaps them as well. Notably, Selina mentions that she’s been having terrible headaches.

Selina Kyle wakes up in a room with Batman; the other kidnapees wake up in the Joker’s “Ha-Hacienda” on his “victim-go-round”.

Eminently Quotable Joker: “Tomorrow is my birthday, and by way of celebration, I intend to eliminate all you who’ve crossed me, while all of Gotham watches! It’s not exactly the catcher’s mitt I really wanted...but it’s a pretty fair second place! HAHAHAHAHAHA!”

Hawkman stars in a Hostess cupcake ad!

The Joker murders one of his own henchman with his “BANG!” flag gun for not laughing at his joke.

Eminently Quotable Joker (in response to Robin saying “You’re out of your mind!”): “Gloriously so! Isn’t it wonderful?”

In order to get his audience, the Joker put an ad in the newspaper that states that the “Harlequin Baking Company” will be inviting all of Gotham to sample its wares at the Seaside Coliseum. AND IT WORKS, because everyone in Gotham has the IQ of turnips. A bazillion people come to the Coliseum to get free food.

Joker dramatically reveals himself to everyone and explains that he’s going to blow up all the people he hates with a giant cake bomb. Then Batman arrives and offers himself in exchange for the other hostages. This goes exactly how you’d expect it to go, but Batman manages Batman his way out of the trap, saving both himself and all of his friends.

Joker runs away and jumps into a boat. Batman follows him, they fight for a bit, and then the Joker apparently blows himself up. But he’s not dead, because nothing can kill the Joker. Batman even says so.

This would’ve made a great episode of B:TAS.

Batman #322, “Chaos--Coming and Going!”

And now for something completely different!

Catwoman looks at a bunch of old newspaper clippings of herself, as the comic hints fairly subtly that she might be unwell (just as her headaches last issue did).

Meanwhile, a van is delivering issues of the tabloid The Gotham Guardian...when a thrown bundle of newspapers is intercepted by a boomerang! Captain Boomerang is in Gotham City!

The two men in the van react by promptly trying to run Digger over....only for him to slice their van in half with a boomerang!

Digger yells at them to tell their boss that this was only a warning: the mysterious boss owes him a million dollars, and he wants it in 24 hours or else.

Then Batman shows up out of nowhere and he and Boomerang get into a fight. Digger distracts Batman by using his exploding boomerang to damage a nearby building. This causes some rubble to fall on one of the drivers. Batman goes to rescue him, and Digger vanishes.

Green Arrow stars in a Hostess fruit pie ad!

Batman talks to Alfred about Captain Boomerang, telling him to ask Lucius Fox to find out who owns the Guardian, since he’s probably Boomerang’s next target. He also refuses to call the Flash in for help. “The night I can’t handle a punk like Boomerang is the night I hang up my cowl!”

Catwoman goes to a doctor and it’s confirmed that she is, in fact, dying. She has less than a month to live and the only cure is some Egyptian herbs that have been lost to time.

Meanwhile, Captain Boomerang lets us know that he hates Gotham. “Lor’, but I hate this cronky town! I never would’ve come her from Central City if it wasn’t for my million quid!”

Apparently, Captain Boomerang set up a retirment fund for himself and is ticked off that has money was subsequently stolen.

“It’s really rum--downright ironic! The one time I play the game by their rules--and it’s me who gets taken for a sucker! Well, nobody crosses “Digger” Harkness--and gets away with it intact!” That’s our Digger!

Also, he has a giant boomerang hidden under a tarp.

Catwoman goes to the museum to see a display about cats...and conveniently, some ancient Egyptian medicinal herbs are there. Catwoman determines to take them so she can save herself.

Batman asks the most Irish Irishman to ever walk the pages of the comic book about where he might be able to find Captain Boomerang, but he hasn’t heard anything. Then Alfred calls Batman and tells him that Lucius has discovered that the Gotham Guardian is owned by a corporation which serves as a front for a guy named Gregorian Falstaff.

The man in question is eating dinner at a hotel when he is rudely interrupted by Captain Boomerang, who knocks out Falstaff’s bodyguard and demands his money. Falstaff plays dumb, claiming that the whole thing was an unfortunate accident and offering to write him a check. Boomerang insists that it’s cash or nothing (since he doesn’t trust Falstaff). Then Batman shows up, and Digger throws a smoke bomb boomerang that distracts Batman long enough for him to knock him out with another boomerang.

“You gave it a fair dinkum try, cobber-but fair ain’t enough when you’re dealin’ with the likes of me!’” Didgeridoo! Crikey! Steve Irwin! Can you tell I’m Australian yet?

Selina Kyle tries to call Bruce but can’t get ahold of him, so she decides to take matters into her own hands and pulls out her Catwoman costume.

When Batman comes to, he’s been tied to the giant boomerang.

“Nothin’ permanent, mate--you’re simply tied to my giant rocket-powered boomerang! Only Flash’s super-speed saved him from the original--and without super-powers you’ll never escape this improved version!” So...which one of the giant boomerangs you used to launch the Flash into space are we talking about here, Digger? Because there’ve been at least four at this point.

Boomerang launches the boomerang into the air and it explodes. Digger is naturally convinced that he’s killed Batman, only for Batman to promptly prove him wrong by showing up alive and well. “Nobody could possibly survive a flight on my Doomerang!” Oh, Digger...

Batman explains that he survived by “maneuvering my bonds toward the Doomerang’s rocket-jets--and the ignition-flames freed me! Then I simply slipped away under the cover of all that smoke before the Doomerang took off!” I love that Batman also calls the thing a Doomerang (with a totally straight face, mind you.)

Then Digger throws a boomerang at Batman at the same time Batman throws a Batarang at him. But because Batman is Batman, he wins the boomerang duel and knocks Digger out. Way to take away Digger’s only accomplishment there, Batman. It’s like if Superman won any of his races against the Flash.

Batman decides to investigate Falstaff.

Meanwhile, at the museum, someone who looks like Catwoman is stealing one of the exhibits....

Flash #286, “The Color Schemes of the Rainbow Raider”

This issue introduces the greatest villain of all time...the dreaded Rainbow Raider!

After a long day at work, Barry Allen is heading home...only for an alarm to go off at the Centrex Art Museum! Barry has to promptly go into action as the Flash as Barry thinks about how tired he is. Apparently, his new police chief, Darryl Frye, has made him work overtime three times in one week alone.

Suddenly, a rainbow appears, bewildering Barry, as it hasn’t rained for the past week. Barry runs inside the museum to find the guards crying inexplicably. Barry deduces that the thief has been altering their emotions and realizes that this is probably not one of his established Rogues.

Sure enough, he soon comes face-to-face with the Rainbow Raider!

“Welcome, Flash! I didn’t think you and I would be meeting so soon...but sooner or later we were bound to clash! Allow me to introduce myself! I am the Rainbow Raider---the most colorful criminal this city’s ever seen!” Oh, Roy. You’re so amazingly silly, and we wouldn’t have it any other way.

Roy shoots a beam of blue light at Barry, who somehow deduces that this was what enabled him to mess with the emotions of the guards. Barry dodges the blast of blue light, but it hit and knocked out by a blast of black light.

The police are suitably baffled by the Rainbow Raider, who, incidentally, signed his crime scene with “The Rainbow Raider was here!” That’s amazing.

Meanwhile, the Flash runs home, for the Rainbow Raider has...uh....sucked all of the color out of his body! Somehow! Wha?

Meanwhile, in a mobile trailer, Roy is gloating to himself. “Now I know I’m ready for the big leagues--on a par with seasoned criminals like Captain Cold and Mirror Master!” Uh...sure, Roy.

Batman and Catman star in a Hostess cupcake ad!

“Roy G. Bivolo is compelled by higher motivations--like art appreciation!”

Roy reveals that he suffers from achromotopsia, a rare form of colorblindness that means he sees the world entirely in greyscale. This fact apparently scuppered his burgeoning artistic career, because the art critics of Central City have never heard of black-and-white artwork even though it totally exists.

Also, Roy’s dad was apparently a, quote, “leading world-renowned optometrist”, and he tried to create goggles that would allow Roy to see color. He passed away shortly after Roy turned 21; having finished the googles just days before.

When Roy tested them a few weeks later, he found that they hadn’t cured his colorblindness...but that they could shoot out “bands of multi-colored solid light particles that I could literally “ride” through the sky”. Roy then uses his father’s notes to unlock even more abilities with his goggles. Eventually, his mother also passed away, and Roy decided to turn to crime.

“Since I was robbed of a brilliant art career as a painter--I think it’s only fitting that I rob others....rob them of the pleasure they’ve derived all these years from priceless works of art I myself have never been able to enjoy! If I can’t see them in all their glory---then neither will anyone else!” Roy...that’s insane.

Barry Allen fails in his attempt to flirt with Fiona Webb, then exposits about pseudoscience. “The color black appears black because it absorbs the light waves of all other colors...without reflecting them! Those black beams the Rainbow Raider enveloped me with must’ve had a similar effect--saturating my body with radiation that prevents me from reflecting any and all light-waves...leaving me totally colorless!” SCIENCE!

Barry uses makeup and hair day to make himself look normal. As a result, he’s 20 minutes late to work and gets chewed out by his boss.

Also: “The unnatural inner-vibrations from this color drain are steadily sapping more and more energy from my molecules by the minute!” More SCIENCE!

Barry is about to get to work when he hears about the opening of the Skytop Art Gallery. Assuming that this would be an ideal target for the Rainbow Raider, he goes into action as the Flash.

Roy has created a distraction by using his emotional manipulation powers to get all of the art patrons to fight each other while he escapes. Barry runs up a building and onto Rainbow Raider’s rainbow...whereupon Raider shoots a blinding light at him, causin him to slip off the rainbow and almost fall to his doom. Luckily, his ability to vibrate through anything saves his life, as he manages to vibrate through a green car he was about to land on.

Barry then finds that he’s turned totally green. ‘I must’ve been vibrating on the precise wavelength of the color green when I passed through this heap--somehow allowing me to regain my capacity to absorb green light-waves!” SCIENCE! He then starts running through vehicles of other colors to regain his capacity to absorb those light-waves, too. Since Raider is colorblind, he can’t figure out what the Flash is up to.

When Raider takes one last blast at the Flash, the effects restore him to normal, and Flash is able to make quick work of the Rainbow Raider.

I love the Rainbow Raider so much.

#flash comics #batman comics #dc comics

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