#meta™

[lurukifennecfox]

Gotham was welcoming of Amity Parkers.

not as loving as with her own but she was way more patient with the people of her friend that any other outsiders.

so the people of Amity those Liminal and aware of her tried to pay her kindness back, to a reasonable degree of course but they could help and she let them stay so they did.

Paulina took it upon herself to make a nice place in the fashion district, she sold some charms to help with the curses as much as she could.

Sam being Sam opened a surprisingly Ivy Approved community garden and was very hard to convince not to join the Eco-terrorist but they managed to, thankfully.

the Fentons designed filters to help the 'Parkers but it was good for the city too if too little to do much.

Val hadn't moved here (yet) but she visited often enough and each visit volunteered somewhere.

Gotham grown to adore them almost as their own, she even hid them from the bats for a while to let them settle (and maybe help her more before her Knight inevitably got paranoid)

Gotham laughed when her King stumbled into her Red Knight, you could hear it in subtle ways the sounds of the night flowed just a little too much like a giggle.

Hood did deserve more good things she's proud of herself!

[earlgodwin]

what i find so interesting is that after juan's death, it wasn't just cesare's physical features that began to echo his brother's appearance more strikingly than they ever had during juan's lifetime, but certain aspects of juan's personality also began to manifest in cesare as well! after rodrigo shared his long-planned dream of creating a papal bloodline to be passed down to cesare, cesare's perspective shifted, and he became increasingly preoccupied with the perceptions of others, leading him to adopt a more classist mindset. he even felt ashamed of his own mother when she offered him counsel and the opportunity to join him in battle, rejecting her due to her former occupation as a 'whore.' this is just one of the chilling examples of how juan's aftermath continued to impact cesare long after his death throughout the show.

[deancasforcutie]

Radio Company, "Watching Over Me" & "Every Light"

[teruel-a-witch]

mcdanno - a study in touch (with a little help from quora)

Steve isn't a particularly touchy-feely person before he meets Danny and even after him initiating physical contact is usually very precise and deliberate. He ushers Danny the way one does with a date. A wooing and guiding gesture.

When it comes to Danny, Steve is all of those things: protective, possessive, reassuring. He lets Danny know he's got his back and he really means it, as evidenced by above caps from 7x17 when Danny was babbling and embarrassed but couldn't stop himself so Steve stepped in and interrupted him fondly. Having his back doesn't just mean in a life or death situation, it's all the little things too. Based on body language alone it's obvious Steve has feelings for Danny and isn't shy about showing them.

[ineffableigh]

Oh my god my brain hurts

Maggie has a poster in her shop (41:37, s02e02) that says "Who is Piet Hein?"

"Piet Hein, who, in his own words, "played mental ping-pong" with Niels Bohr[2] in the inter-War period, found himself confronted with a dilemma when the Germans occupied Denmark. He felt that he had three choices: Do nothing, flee to neutral Sweden or join the Danish resistance movement. As he explained in 1968, "Sweden was out because I am not Swedish, but Danish. I could not remain at home because, if I had, every knock at the door would have sent shivers up my spine. So, I joined the Resistance."[3]

The poster seems to say something about "Even the woman he loved could not run from the strange [blocked] cunning behaviour [blocked] cunning Man [blocked]."

IT"S EVERYWHEREEE

[brawlmetaknight]

to be honest meta knight has been portrayed in so many different ways over the various games, manga, novels, anime, smash etc that you can basically Build A Meta Knight and end up with something completely different than somebody else but all the traits are still somehow official lol.

[naranjapetrificada]

Just a small thing I noticed while being totally normal about the gay pirates:

I've watched The Kiss™ way too many times a normal number of times and my favorite moment is the series of microexpressions Rhys cycles through while Stede is reacting to "what makes Ed happy is...you" because it's just so lovely and masterfully done. While trying to find a good gif of just that moment (no luck so far!) I noticed something that happens while Ed is pulling Stede in.

Stede, darling honey light of my life, clueless useless "oblivious" gay that he is, tilts his head a bit and leans into the kiss too. Before it's even started. On some level he registers that This Is Happening in time to react in a positive way, even before their lips have touched.

Our boy is a creature of instinct, and when he acts on his emotional instincts without thinking too much he knocks so much shit out of the park. Instinct is part of why "you wear fine things well" hits as hard as it does. Instinct is how he can woo Ed as easily as he does. Instinct is how they were able connect so deeply so quickly, because his instinct is to be open and non-judgemental to this beautiful man waiting beside his sickbed and asking about fine fabrics.

Stede's thoughts are still too clouded by his trauma and self-loathing to be useful for him, and he can end up thinking too much about what he "should" do or what other people do. Thinking is part of the reason he's so quick to believe Chauncey in the woods. Thinking means succumbing to beliefs about his perceived worthlessness, which leads to his biggest mistakes. Thinking tells him to adjust what he says about Blackbeard in that tavern of townies, when his instinct was to say how "absolutely lovely" Ed is.

Obviously man cannot live by instinct alone, like he definitely should have thought for a minute about making a deal with Geraldo to fence the hostage. Stede needs to learn to balance the two and when to listen to either/both of them. But I was just so excited to see him leaning in the way he does because it underlines a feeling I've had for a minute, which is that Stede's instincts are those of someone crushing and then falling in love, and that never wavers.

He lacks the context and vocabulary to identify what's going on without outside intervention, but he also deeply gets it in a way that's extremely queer and that I hope starts showing up more in the fanon. I do a little happy dance every time I see this in people's fics and I just need so many more of them! Give me more eager Stede who is Ready To Go once he's given the right context for his feelings about Ed!

[1000sunnygo]

IMO a lesser mentioned reason behind Luffy's overwhelming success as a protagonist is Oda's extreme overprotectiveness. Like he'd rather jump off a cliff than let Luffy be controversial.

Marineford is an easy example. An arc heavily featuring Luffy's low point, but Oda didn't make him responsible for Ace's death. In 1000+ chapters of screentime, I can't think of an instance where Luffy did something irredeemable in fandom eyes. Only controversial scene that comes to mind is picking a fight against Zoro in Whiskey peak? Maybe Oda had the luxury to let his guard down back then bc online discussions weren't a thing PFFT

It's not like Luffy doesn't make mistakes, but Oda makes sure Luffy is immediately called out by someone in the story so he stays grounded and can apologize if he has to.

And that's not all, Oda is vocally supportive of Luffy in the polls, he can't not include Luffy in magazine covers even when the editors press him to, he made the timskip 2years bc he wanted Luffy to stay a child during story's runtime, he doesn't let a single character outshine Luffy in an arc, he cushioned Luffy's past with TWO brothers and kept one alive after taking away one of them.. he's spoiling Luffy rotten and I love to see it bc that's the right kind of spoiling, that's what keeps Luffy the happy boy he needs to be, shonen authors should take some notes methinks

[sketchy-scribs-n-doods]

i'm a little sad at how sparse steddyhands and stizzy art and writing is on here now after the finale (thankfully, i am still digging through the couple thousand fics up on ao3 so i'm not totally bereft)

because during the airing of the season there was new stuff in the tags every day, sometimes even every few hours, but i think the finale really punched all of us in the face

there's lots of good stuff from before s2 to go digging through of course, and ao3 and twitter still have some new art and fic and memes if you go looking for it, but the difference from before and now seems a bit stark

don't misunderstand me, this isn't me being defeatist, just being a bit melancholy (and mad at the s2 finale tbh lol) about it. shout out to the regulars i see in the tags still making stuff and posting jokes, ya'll are doing the most and i wish you all the passion and motivation and time to create in the world <3

[beaulesbian]

thinking about Luffy, in this particular scene in Sabaody archipelago

"if i hear anything about it, i'll quit being a pirate! I'll never go on an adventure that isn't fun!!"

like!! Luffy!! he's the most character ever! ♥

.

(zoro, sitting across from everybody else in the room, watching and listening this conversation, arms behind his head, none of his reaction was needed (unlike the rest of the crew), because by now he knows luffy the best out of them, and nothing about this conversation could even surprise him.

he knows how luffy thinks, that what he says is always truth or honest, he can understand what luffy needs from his dream on this journey. after all, they are moving towards very similar goals with very similar dreams to achieve.)

(^ it was already after the luffy speech, but it was the only time with focus on zoro in that whole scene.)

[chaotic-neutral-knitter]

Let's do soup.

A lot of people have been talking about how soup is doing some symbolic lifting in this season, but I've gotten really stuck on this scene in particular. Ed doesn't know that Hornigold is his own subconscious yet, but he confronts him about a time that Hornigold killed a member of his own crew (hey Ed are you maybe feeling bad about something?) and Hornigold gives him three options for dealing with all the horrible shit he's seen, done, or been unable to stop.

The first option is just "move on, you gotta move on." Or, in other words "toughen up, who cares that you feel bad about it, just lock that shit up and get over it." Ed got this advice a lot in season one. Izzy told him "the love of a pet makes a man weak" and Calico Jack told him "what kind of pirate has a friend, we're all in various stages of fucking each other over." It seems like this is just what pirates do. Frenchie starts out this season talking about how he bottles it all up. It's a stand in for all the toxic masculinity and repression that the show enjoys unpacking - in Hornigold's mind, if feelings can't rebuild an abdominal wall, they're useless.

The second option is "blow your brains out." It's become pretty clear at this point that Ed is trying his best to get someone angry enough to kill him. In season one, Ed is told repeatedly that dying is what happens when you fail to do option one. When Izzy says, "the only retirement we get is death," that's what he means. Ed can't retire, can't stop being a pirate, can't do things differently. He has to tread water until he drowns. When Izzy says "Blackbeard is my captain. I serve Blackbeard, not Edward. Edward better watch his fucking step," he is telling Ed to toughen up or die. At this point Ed, unimpressed, asks "Those are the options?" Hornigold does his little bup-bup-bup thing where he weighs them in his hands and says "Or, we could just make some soup."

Ed says "Yeah, soup. Let's do soup."

The third option is "soup." Soup can mean a lot of things - it's warm, it's nourishing, it's what you eat when you're sick. The show has been tying it to the crew of the Revenge by having them continually eat soup and talk about how great it is (Notably, in the scene above, Olu asks Yi Sao if she's really a soup seller and she says "Not exactly.")

What does "make some soup" mean for Ed? I think, above all, it's a third option in what has been an inescapable dichotomy of "be tough or die." The first person to break this dichotomy in the show is Stede, when he refers to piracy's culture of abuse and says "And my thought is, 'Why? And also, what if it weren't like that?'" before encouraging his crew to talk through their feelings. To the surprise of literally everyone, that works. The crew of The Revenge took the space that Stede gave them and built a family inside of it. They gave Ed the idea that maybe "tough it out or die" aren't the only two options, and he's still thinking about it even now.

Making soup is also work - Ed's going to have to deal with the fact that he tried to torture his crew into killing him - but it's good, useful work. It could be a metaphor for the kind of work you have to do to repair relationships with people you've hurt. The first thing Ed does in this episode is refuse the soup that Hornigold is giving him. It's poison, he doesn't want it.

So, I'm wondering if there's going to be a moment later in the season where Ed either literally makes soup or accepts it from someone else, and whether that will be Important To His Arc in some way.

Also, I'm really craving soup, so.

[teruel-a-witch]

The Curious Case Of The Most UST Filled Tetanus Shot In History

that time Danny walked in on Steve about to administer himself a tetanus shot after a dive into dirty canal water

because you can always count on Steve to find an excuse to take his clothes off at work

and Danny freaked out disproportionately because he was NOT prepared for Steve to just drop his pants in front of him out of blue, at least give him the decency of two to three business days of warning (sexual frustration always makes him extra aggressive)

Steve, who was still pouting over Danny not joining him for a swim in that canal, suggested Danny look away or cover his eyes

unsurprisingly despite his loud (for show) complains Danny does NOT look away during the money shot

not only that but the entire time after as Steve proceeded to fasten his pants back up

Danny's eyes kept straying and wandering 👀 (which made it all the most obvious that his earlier protests were to save face/for show)

he was fighting for his life trying to focus on the conversation about the suspect

all in all, extremely heterosexual™ happenings at the office feat. Steve and Danny, as usual

Bonus

[musical-chick-13]

I think people who pick one character from AsoIaF/GoT to be The Protagonist are missing the point, because pretty much all of the characters think THEY are The Protagonist™ and that’s ultimately what screws them over.

(I also want to preface this by saying that that’s the reason I find these characters so interesting, and that this is not meant to insult any of them. I LOVE this story, and this is one of the many reasons why.)

Cersei thinks she’s the Villain Protagonist™ of a gritty drama. Even if it doesn’t make sense for things to work out for her, she assumes they will, seeing everyone around her as faceless idiots serving her narrative. Anyone and everyone will betray her because that’s what always happens in stories like this, so she won’t give them a chance to ever get there. People will move the way she assumes they will; everyone is predictable and stupid and shallow and cowardly. And as such, no one possesses the necessary skills to take her down. If she’s more ruthless and ambitious and paranoid than everyone else, she’ll get what she wants. But that’s not how life actually works, so all she does is alienate those around her, even necessary allies. People aren’t always predictable, not all of them are compliant or subservient or easily-frightened or incompetent. And if you prioritize ruthlessness and distrust, the people who aren’t those things aren’t going to see any reason to keep you around or give you aid.

Jaime thinks he’s a Cynical Misunderstood Antihero. He doesn’t need to work on bettering himself or de-internalizing his violent impulses, because he’s not the problem, it’s society, it’s people’s incorrect assessment of him. Look, he made a friend in Brienne, that must mean he’s not all bad, right? He thinks this story ends in a Public Image Rehabilitation, but he still conflates love with violence, and he still has a fucked up relationship with consent, he’s arrogant to a fault, he still insults Brienne (and just about everyone else) when the opportunity presents itself, and he never bothers trying to change that. And it’s all of this that prevents him from every truly becoming a good person. He’s so mired in this idea of being misunderstood that he doesn’t make a concerted effort to prove that he actually is. People think he’s an oath-breaker, that he has too big of an ego, that he doesn’t care about the people he swore to protect, and he thinks that simply going, “Yeah, but they don’t have the whole picture” is enough in and of itself to prove them wrong because, in a lot of stories, it is. But all his behavior does is cement his reputation as these things.

Dany thinks she’s The Chosen One, which means whatever she does is automatically the right decision. People will accept her rule because it’s hers, she deserves it, it’s morally right. All of her enemies are blanketedly wrong on all accounts in all cases. Her goals supersede anyone else’s because those goals are the way to a Happy Ending, and she doesn’t consider that other people might not see it that way. Many people’s gripes with her stem from gross places like misogyny or wanting to continue keeping slaves, but she forgets to acknowledge that some people’s issues with her might actually be valid. And that The Chosen One is actually a terrifying idea to people outside that person’s immediate personal context. She has three sentient WMDs, essentially. And if she thinks that using them is always morally correct, that the fallout from doing so can’t possibly be a problem because she’s using them and it’s for a noble cause, you end up with what happened in Astapor; and you end up with Drogon killing a child in Mereen and, eventually, her demise at the end of the show.

Sansa starts out thinking she’s an Optimistic Child Hero in a fairytale. This leads to her being held captive at court (she trusted that the authority figures were benevolent), writing a letter to her family that almost comes back to bite her to a deadly degree once her sister finds out in the show (she thought she could solve everything herself via a peaceful resolution), and to her trusting a complete monster of a boy until it’s too late (she thought he was Prince Charming). She thinks that being the Soft, Beautiful Heroine means people will love her and everything will end nicely and neatly, but sometimes instead of “love”, people just take advantage of you. And sometimes their reaction to your beauty isn’t innocent appreciation-sometimes you end up with Littlefinger. (Or Tyrion or The Hound who...let’s just leave it at “they have their own issues,” especially book-wise.) This morphs into assuming that a fairytale-esque betrayal will befall her with every new person she meets. It’s why she defends Petyr after his murder of Lysa, and it’s why she doesn’t leave with Brienne; if she’s going to be betrayed anyway, she might as well at least stick with a villain she understands.

Ned thinks he’s the Noble Hero in a typical fantasy series. He doesn’t consider everyone else’s capacity for cruelty or the idea that honor alone might not be enough. Sometimes there are no perfect choices, sometimes mercy does not give you the end goal you envisioned, and sometimes you can try your best and that can all be undone by one impulsive, unforeseeable action. You can’t honor your way out of ruthless political conflict.

Robb thinks he’s a Romantic War Hero, and thus everything will magically work out for him. His ideals and his marriage will conquer everything. But he broke a marriage promise to a powerful family, and that has consequences. The world won’t bend to his will, not even if he is doing the right thing or has noble goals, not even if he’s had war success, not even if the people at home love him, not even if he’s in love (show) or doing the most honorable thing he can (books). He thinks that being the hero means he can make it through Westeros without having to play the game, and he gets murdered for it.

Theon thinks he’s an Underdog Outcast Hero. He’ll come up from behind with an unsuspecting War Victory, and that will earn him respect, the love of his family, and a legacy he can look back on with pride. And that mindset leads him to murder two children, to drive away any allies and good grace he had at Winterfell, and the reason that the War Victory he imagined was so unexpected is because it’s completely untenable. He gets more and more desperate and it’s increasingly harder and harder to hold onto the control he’s managed to obtain. He has reasons for wanting this that make sense, and he’s been dealt a pretty bad hand in life, and he thinks that’s and his determination to overcome his personal identity struggles is enough to not only justify his actions, but ensure that those actions will be successful. And then his plan blows up in his face, he assumes he’s been miraculously saved (probably still having something to do with seeing himself as The Unexpected Hero), and ends up at Ramsay’s mercy.

Arya thinks she’s a Badass Heroine in the making, a skilled swordslady and Rebellious Princess who’s destined for more than this stuffy life of politics and dresses and formalities. But rebelling isn’t always enough. It doesn’t help with the Mycah situation, and she still needs to rely on others’ help in getting out of the city after Ned is executed. When she does try to embrace the “fully self-sufficient sword lady” idea while with the Faceless Men in Braavos, she is told to functionally discard her identity completely. She does an unauthorized kill because she, not her assassin-persona-in-training, wants to (though the victim’s identity differs in books and show), which leads to her being temporarily blinded and prevented from going on assassination missions, and outright forced to beg for food in the show. In the show, after being reinstated as an apprentice, she is tasked with killing an innocent person, refuses (rebels), and realizes that this life is one she can’t handle. She goes home, and her heading straight for her sword is one of the things that almost completely ruins her relationship with Sansa. In the upcoming Winds of Winter release, her chapter excerpt has her prioritizing revenge over her apprentice duties, and she remarks that her new identity is ruined with this rebellious action. When you rebel, there are consequences-this doesn’t change just because your intentions are good or because you are or think you are important.

Jon thinks, similarly to Ned, that he’s The Good Guy, that doing the right thing, that following The Code is paramount. He thinks that, because he’s The Good Guy, that doing the right thing with the maximum amount of good for everyone will always be a workable option, and that the heroic option will always yield the best result. This is why he thinks proclaiming his love to Ygritte in the show will end well (because love is good and conquers everything) and is, instead, shot by her several times. It’s why he doesn’t foresee a mutiny in either medium, which leads to his (temporary) death. (Let’s be real, he’s getting resurrected in the books, too, this is the one thing I’m sure of.) Because yes, everything is tense and he’s on bad terms with the Watch, but surely they wouldn’t go that far. It’s rough going, and he has to juggle the needs of several widely different groups of people, but he’s doing the right thing and that will win out; his conviction will protect him, at least for the time being while he tries to manage the bigger threat of the White Walkers. The real fight is with them, the mysterious overarching enemy, not within his own ranks. This is a story where everyone puts aside their differences to fight a greater threat-except for the times when it isn’t.

Even Catelyn isn’t immune, as she assumes that Petyr, since he’s her childhood friend, is invested in solving the mystery of what happened to Bran when he tells her the dagger used in the attack was Tyrion’s. Lysa is her sister, she can’t possibly be suspicious. She thinks the Lannisters are evil, her instincts tell her that they were behind everything, she’s the Protective Mother Heroine, so she must be right. But although she is to a certain extent correct, that’s not the complete picture. And this slightly-misplaced confidence leads her to arrest Tyrion, the retaliation of which is Tywin siccing his forces on her homeland, one of the major first steps in the upcoming political war. Then, her continued focus on saving her children-something that must take precedence because they are her children, and this is her story-leads her to taking Walder Frey’s supposed offer of a fix-it solution for Robb breaking his marital pledge at face value, despite House Frey’s reputation, and despite this neat resolution seeming far too good to be true. She’s so focused on the Lannisters-the Obvious Endgame Enemy-that she doesn’t consider the possibility of betrayal from the Freys. She thinks that the world is giving her a break-because she is so desperately looking for one, because she deserves one, because her family deserves one, and those are reasons enough for her to have one-that she doesn’t even bother to re-evaluate the situation until it’s too late.

Melisandre thinks she’s a Religious Hero, but she ends up burning a child alive and alienating one of her few remaining allies in the process (and Davos was barely an ally to begin with). She thinks she’s Doing What Needs To Be Done to serve her savior, but it hurts Stannis more than it helps him, and he just ends up being murdered by Brienne. This is obviously in the show only (at least at this point), and I don’t know if Stannis is going to burn Shireen in the books or not. Stannis thinks he’s the Lawful Hero, and thus, because according to law he’s the Rightful Ruler, anything he does is automatically excusable; he’s just righting a wrong. And in the process, he imprisons his closest friend, has a hand in murdering his brother (when kinslaying is one of the most universally hated breaches of conduct in this fictional universe), allies with a dangerous woman that much of his own court despises, and, in the show, murders his only child and drives away most of the rest of his remaining team.

They all think that, since they are the main characters of their own stories, that they’re the main character of the larger, overarching narrative. That having understandable reasons or sympathetic qualities or even just having a clear goal that they desperately want, that’s enough to cement their importance. And they think that means that they’re justified in everything they do, that everything will work out for them, that the consequences will be lesser for them than for others, because that’s what it’s like to be the main character. The whole point is that there is not A Protagonist™ and that maybe we should examine why a story needs A Protagonist™ in the first place and what that narrative tradition tells us. When GRRM said he turned down adaptation offers because they only wanted to focus on Jon and Dany, this is why.

[thelonely]

okay is anyone else getting incredibly sus at hero being the sole "chosen one" in light of fucked up oak family politics and season themes, like. spoilers below.

so as hero put it this ep (S2 E35), "the first child of the ones who summoned the doodler was supposed to be the one to bring balance back and solve the whole doodler thing." the lord of chaos, who summoned the doodler, is collectively lark and sparrow. post-deck of many things + rogue card, lark and sparrow are presented largely as hatred vs. love, respectively.

nick initially brings up the prophecy in S2 E30 in the context that hero, as the chosen one, is definitively "good" and that she got all the magical doodler bloodline benefits while normal is a "pleasant surprise" and gets nothing. that he is nothing. lark, sparrow, and rebecca told hero everything and have been training her since she was little, while normal stayed in the dark until recent events.

we also know from S2 E6 that lark had sex with rebecca during her and sparrow's engagement, although lark adds the caveat that he's not normal's dad, "it was a different time. it was not during the pregnancy." okay but hero's paternity is still kinda up in the air then, no? and hero alludes to that, with "our parents, and depending on how things worked out, your dad or my dad, kinda fucked up."

all i gotta say is. with a thematic emphasis on love vs. hate (including the whole destroying doodler anchors with love vs. hate mechanic), the specific prophecy wording of "bringing balance" rather than "defeating/destroying the doodler," and the questionable paternity of hero and normal.

what if.

lark is hero's dad—a kid from the twin representing hate. sparrow is normal's dad—a kid from the twin representing love. and they're the chosen two, balancing good and evil, love and hate.

(disclaimer this is a half-baked theory and i don't feel that either character solidly represents love vs. hate at this point, tho it may be too early to tell with hero OR the whole point is that no one is entirely characterized by one feeling.)

anyways enjoy this cute picture of me below <333

[blueberryfruitbat]

oops, my hand slipped, gijinka art

[act-more-like-a-dog-sirius]

HP Rants: Things Fandom Gets WRONG

Remus Lupin’s Scars

Or more accurately, his lack of them

Alright kiddos I got a salty HP take and y’all are not gonna like it.

It is basically universal in any fandom depiction of Remus Lupin, whether in fic or art, that he has extensive facial scarring. this is another one of the movies-making-people-think-things-are-canon-that-really-aren’t-canon. the movies are shit. the movies lie. also.

it’s not physically possible.

y’all really never seen the anatomy of a wolf or even a dog?? they? can’t? physically? scratch? their? faces? unless? they? sit? down? on? their? bums? and? twist? around? all? awkwardly? to? use? their? hind? leg? but? even if that was what a rabid werewolf would do… that position/angle would in no way generate enough force to create actual cuts.

and like. most importantly, if Remus was covered in scars, don’t you think harry would have, i don’t know, mentioned/noticed/referred to it at least once??? kid’s visually observant (look I’m not talking emotionally, my man can be fucking clueless, but he paid attention to visual details) he always noticed people’s physical features and appearances. and the only visual/physical attributes ever associated with Lupin were ‘prematurely lined/aged face,’ and ‘[prematurely] graying hair’ ‘shabby’ [‘had an air of shabbiness about him’] he was often ‘worn’/‘wan’ ‘drawn’ [‘thin face’] and ‘tired’ or ‘pale’ and ‘ill-looking’ but never, not. one. singe. time. was he ever noted as having any scars.

NOT A SINGLE FUCKING TIME.

and harry notices those kinds of things. read any book 7 description of Bill. read any description ever of Moody. if remus had scars that could be seen, harry would have said so.

also, if he was so extensively scarred as fanon just looves to make him be, by the time we meet him in canon, he would have been through over 28 years worth of transformations (a very minimum of 336, with the 144 most recent being without the marauders to keep him from hurting himself as a wolf). and most likely he didn’t have ready access to the Wolf’s Bane potion as he was not actually able to brew it for himself—which he fucking said flat out. so. yeah. he would have been even more scarred than mad-eye moody if the whole transformations ==> facial scars thing was true.

This is the actual canon description of Remus John Lupin.

“The stranger was wearing an extremely shabby set of Wizard’s robes that had been darned in several places. He looked I’ll and exhausted.Though quite young, his light brown hair was flecked with grey.” “Professor Lupin’s pallid profile” “illuminated his tired grey face but his eyes looked alert and wary”

also. let’s be real here. werewolf bites are cursed wounds (which is why the scarring from them does not heal). you know what’s not cursed wounds? werewolf scratches. so it is not physically fucking possible for Remus to have cursed werewolf bite wounds on his face. because you cannot bite your own fucking face. and magic easily and seamlessly heals normal cuts and scratches and non cursed wounds. without scarring. so sure, even if he scratched his face with his werewolfy claws, they’re not cursed wounds, so they would have been magically healed as such. same goes for any other injuries he got as a wolf. any broken bones, or scratches not from his claws. they all would have been magically healed and wouldn’t leave any scars.

and i just honestly don’t think that a werewolfs cursed bite mark wounds would be cursed on itself. like. it’s already a werewolf. it’s not gonna become any more werewolf. i don’t know. i just don’t think that any wounds from a werewolf biting itself would scar. it just doesn’t really make sense. plus again, we return to canon.

remus has no visible scars.

sure maybe. maybe. he is absolutely covered in scars on the parts of his body that aren’t covered by clothing or robes. but definitely not his hands or forearms. because canonically there is no mention of him having scars, and harry has seen his hands and forearms (when he just casually rolled up his sleeves so he could murder his former best friend, as one does nbd).

actually you know what. scratch all that. there is canonical evidence. WEREWOLVES ARE ONLY DANGEROUS TO HUMANS. once he became a werewolf, remus was no longer a human. so. any bites or wounds he gave himself while he was transformed were just normal non-cursed wounds. that could be fixed by magic and wouldn’t leave scars. so yeah. there’s my proof.

TLDR: my take is that remus has bad scars from his initial bite from greyback, but doesn’t have any scars from his own werewolf ass biting himself