#my first fic had this whole minor arc about not thinking mean things about people who love you

[tanoraqui]

hey!! i love your blog so much your takes are *chefs kiss*

i saw an Amazing post a few months ago where someone laid out a really cool plan for a silmarillion tv show and i cant find it again. it haunts my every waking moment. i think i saw it on your blog so i figured id ask if you knew it.

Either way, have a great day!

(note: I got this ask several thousand years ago, and am answering it now because I asked my roommates if I should write something serious tonight, or something ridiculous, or read a book; and they said ridiculous.) (note 2: I wrote the above several days ago. I'm posting at 6.5k words) (note 3: I'm going to pretend this is a deliberately timed gift to @thelordofgifs for their latest fic updates, which were bullet points of heartfelt and sober compelling canon divergence. this...is bullet points of [heartfelt? compelling?] lunacy. I hope you might enjoy it.)

Are you thinking of this, the "Supernatural but make it Silmarillion lore, and also women" show of my dreams? (Me, approaching the Tolkien estate with an offer for the rights to the Silmarillion: I swear, I will ONLY show the First Age in limited flashbacks. Everything else will be the characters as they are at least 10,000 years later, maybe even with an active framing device to identify them as modern interpretations of the characters...")

Oh huh, I forgot I thought a bunch more about that "teeechnically-not-AU" and never added it to that post. Regardless of whether it's the show you were thinking of, dear Anon:

one of the protagonists is definitely the reincarnation of Fëanor. Her name is Seraphina, which translates to something like "fiery divine being", bc her mom had a good sense of these things. They don't know this at first

her slightly older twin sister is Martha, named after their grandmother but it does mean the feminine of "master", because I spent at least an hour trying to translate any name Turin ever had into something reasonably modern and this is the best I could do (they also don't know about this reincarnation at first, ofc)

their father was killed by some sort of monster when they were babies so their mother took up monster-hunting ranging, etc. etc.

(the underground community of modern monster-hunters are called Rangers, in reference to the roaming heroes of old)

Seraphina, the Wild One(TM), ran away to go to college, where she double-majored in astrophysics and mechanical engineering and double-minored in linguistics and metallurgical engineering, and wrote an art history thesis. Martha, the Dutiful One(TM), stayed with their mother and kept ranging. They reunite when Martha shows up on Phina's doorstep because "Mom went on a hunting trip and hasn't been home in a few days", etc. etc.

the Bobby-style substitute parent should really, to (kind of) round this out, be a dwarf or hobbit. The full "Team Free Will" should represent all peoples of Arda... But I'm not making up OCs right now (yet)

a unifying legend of the Ranger community is that their unofficial network has been supported and guided for millennia by their cousins, the peredhel, Elrohir and Elladan, who quite simply never Chose and have been wandering the earth, saving people and hunting things, ever since their sister died. They don't NEED to Choose until they die, technically!

This is, in fact, true - or, it was. Until about 25 years ago, when [flips a coin] Elrohir married our heroes' mother, settled down into peaceful domesticity, and a few years later died dramatically to buy [throws a dart at a wheel of names] Laura and their children time to escape the whatever.

Laura knew about his profession and that he was older than he looked, but not his whole deal. She found that out later while vengefully hunting monsters...and never told her daughters.

The plot of Season 1 involves unravelling this mystery, including at some point meeting their elusive uncle Elladan (who has maybe gone a little mad with the sudden death of his twin? That'd be a fun season antagonist/arc/theme...dealing with grief...very topical!)

By the end of s1, all of the above have probably had a nice closure-giving(-ish) confrontation/conversation with Elrohir's ghost - who's been waiting in Mandos for his wife and/or brother despite Mandos's INCREASINGLY strident blandishments to stop acting like a cat in a doorway and choose - and Laura and Elladan are both dead in suitably dramatic circumstances.

...or, Elladan is. Apparently John Winchester didn't die until s2e1! So, what happens is:

- (earlier in the s1 finale episode, Laura, noticed something once or twice which her daughters didn't - saw a curl of smoke, seemed to be examining a McGuffin extra closely...)

- Laura has been mildly injured, and someone needs to guard a McGuffin or maybe a random innocent civilian caught up in this, so she stays behind while Phina and Martha go off to deal with whatever the actual big bad of the season is. Maybe a cult trying to sacrifice half-elves for some reason? Directed, though not personally managed, by whatever killed Elrohir in the first place, which is...I gotta figure an OC balrog? Like, not one of the big ones from canon. We'll just call her (Laura's) Bane henceforth.

- not long later, while Phina and Martha are fistbumping in the remains of the cult's hideout Seraphina maybe have used chemical explosives), or maybe discretely looting Elladan's body for useful weapons laying their uncle to rest, the scene cuts back to Laura

- she's pacing, patrolling. Ready for a fight. She senses something and goes even tenser, drawing her ancient sword. It glows softly blue - but this is no orc. Heavy footsteps, flickering shadows and firelight, maybe the sound of wings. We do not see the enemy, just a middle-aged woman in improvised combat gear with a pistol in one hand and a Gondolin-made sword in the other, and a look of iron determination and defiance. She pulls off the bandage on her arm, revealing that she'd faked her injury so the girls would leave her behind.

- "I knew it was you," she greets her old enemy, unflinching, as a faint reprise rings unnoticed in the Great Music. She moves to attack, met by a whip-crack and a flash of fire, and cut to black.

Season 2 starts where s1 ended, for Martha and Seraphina. They're almost back at their car (the beloved 1967 Chevy Shadowfax). Note: few times in s1, Phina has had strange visions or nightmares, never anything prophetic but once a good clue to defeating the MotW...

She reels with the force and horror of this one. Darkness, utter and choking, pierced eventually by a single desperate torch. A dark and empty hall where there should be life and light. Flickering firelight reveals blood on the floor...

She gasps, "Mom," and demands that Martha drive, drive, fucking drive faster already -

They're too late, of course. Laura is long-since dead.

...so, back to Monster of the Week, with additional focus on tracking down the Bane!

Seraphina's strange dreams and visions get more frequent, more memorable. Sometimes they're peaceful, full of beautiful Light. More often they're dark, or at least, dim - climbing strange, starlit mountains (finding a cousin of aconite which turns out to also be useful for defeating werewolves). Choking grief as her hand brushes the air just above a vibrant tapestry, too afraid to ruin it with touch. Fire in her throat as she shouts world-shaking words in a language she doesn't remember (she repeats them a moment later, fending off a corrupted wind-spirit, and it flinches even before Phina feels a burst of vicious, raging, burning strength.)

Seraphina is curious as hell and keeps pushing herself to learn more, see more. Do more. It's not just visions, eventually - she starts to read minds, here and there. She's always been a fidgeter, happiest with some petty creative task of wire and beads or yarn in her hands, but now she can swear that sometimes her craft supplies sing at times, directly surpassing her ears, and she can make things with quality, with power. A new-knitted scarf is sturdy as a gorget. Glass beads glow. The more Phina does, the more she's frustrated rather than satisfied - she knows she's missing something, and she HATES being ignorant. Being wrong.

Martha, always the responsible one, especially feeling the need to be so now that their mom has died, wishes she would stop. Wishes she wouldn't put herself, put both of them, in danger like this. Martha is literally game to fight an orc with her fists one on one, any day of the week; she's no stranger to a quick temper and impulsive action. But she grew up! Why can't her sister!

(Martha: [venting the above to a stranger in a bar or something. Meanwhile, Seraphina has found an medieval Songbook and is trying to, like, apply principals of Elvencraft to chemical engineering. more arguing ensues.])

Toward the end of the season, there's, idk, several murders at the site of a geothermal drilling experiment in the North Sea, and oh shit, Bane is trying to get something that came out of that drill shaft! Violent interrogation of some evil minions reveals that it's no less precious thing than a Silmaril! Our heroes read about those recently in some ancient tome! (Phina got a headache so bad, and a sense of being aflame, that she passed out.)

In the third-to-last episode of the season, they hunt the Silmaril to the unlucky random research facility to which it's been taken. Mundane authorities and/or scientists are already coveting it as a potential energy source, adding extra mooks...who mostly just die when Laura's Bane arrives. But our girls get to it just slightly faster. The jewel is in a jead-lined box. Phina has been increasingly consumed by single-minded focus on getting this thing; even as the Ban storms in all fire and darkness, she's furiously picking the lock. She flings back the lid; we see a shining gold-white jewel - and the Light consumes the screen.

The second-to-last episode starts with pure Light - then it fades to simple Mingling, as the Noldor hold a funeral for Miriel. They had rites for the fallen in their starlit home of old, when they knew no return. They are having a modified version now, knowing that in her weariness she will, at least, take a very long time; in the hope that it will help those who loved her move through their grief.

- young Fëanor (age 5ish), tears running down his cheeks, whispers to his father that he is sorry, so sorry he killed her. Finwë denies it fiercely, lovingly, and holds him tight. Indis approaches, seeking to offer comfort; Finwë sees her over Fëanor's head and, gratefully, shakes his head. She retreats.

- but in the next memory, it is Fëanor (age 10ish) who watches Finwë and Indis, as they move joyously in unison around their wedding dance floor. Someone says something to him, he responds bitterly.

- (I'm not sure exactly what narrative of Fëanor's life I want to construct here, but assume subsequent memories/short scenes include: dislike of half-siblings (ft. fear of loss/abandonment masked as superiority complex), finding genuine joy and contentment in craft, exploration, and Nerdanel & their children; Melkor & rising tensions with Fingolfin, the Silmarils, the sword Incident, banishment (ft. savage dislike of Valar), Finwë's death (the same memory that struck when Laura died!), the Oath, Alqualondë, the theft and burning of the ships...and Amrod...and shortly thereafter, Fëanor himself, in a rush that only wasn't suicide because he really thought he could bust in and kill a Vala right up until he realized he absolutely could not do that.)

- (very fast final montage of key events post death, only snapshots, maybe styled as tapestry seen from Vairë's Halls? Fingolfin, crowned, raising Maedhros from a bow and embracing him; the glorious hosts and castles of the Noldor, Dagor Bragollach, Fingolfin's death, Doriath & Celegorm, Caranthir, Curufin's deaths, Sirion & Amras's death (both with the Silmaril evading them in the background), Morgoth's defeat by Host of the West with Eärendil shining far overhead, the final attack/theft, Maedhros's death, Maglor flinging the third into the sea and collapsing)

- camera close on Seraphina's face as she opens her eyes. They are shining with Light. She says, "Fuck."

FINAL EPISODE OF S2 STARTS WITH:

- a few second earlier: Martha sees from across the room as Phina opens the box and a joyous Light shines forth, and her sister collapses. The Silmaril falls and rolls.

- Martha doesn't have time to see where it rolls, because she has to fight the monster that killed both her parents. We've seen Laura's Bane in the shape of a woman with cavern-black hair and fiery eyes a few times before, and when it killed Laura and Elrohir, we glimpsed much more. But 2 episodes ago was the first time we saw it in all its terrible, burning darkness. The building is falling apart around it. There were a couple security guards and a scientist here; they're dead within moments.

- like her mother, Martha started out with a gun and a sword. She quickly gives up on the gun - it IS a special magic gun, but she's just better with a sword. She's snarking at the monster as she fights, because this is a gritty urban fantasy show so she's going to die, but by Eru she's going to die with sarcasm on her lips.

- the Bane's whip finally catches her around the wrist. It's not clear if it's the pain of the break or the burn that makes her drop her sword. The Balrog steps over it and grabs her by the throat. Darkness enwraps her, the searing, choking claws and the all-encompassing wings and the swallowing of her vision -

- Light pierces it like a blade. The Balrog falls back, dropping Martha to the floor.

- there stands her sister, Silmaril raised, almost glowing herself with its Light. Her eyes blaze with the particularly fiery Light that was always Fëanor's.

- Power in her voice, in English she says, "I am Seraphina Elrohiel [cool epithet she's picked up as a hunter]"; in the most traditional lisping Quenya she adds, "and I am Fëanáro Finwë-Curufinwë." English again: "I wrought this jewel five ages of the world ago…and to be honest, I don't really know what I can do with it now."

- - (the soundtrack crescendos, the Music crescendos; unseen, all around Arda and beyond, beings tuned into the Great Song of Ëa know that Fëanor once again holds a Silmaril, and go oh, shit, fuck!!)

- she smiles, fey and burning. "Do you think it's a good idea to stay and find out?"

- Laura's Bane flees with a snarl.

- Martha gets to her knees, and no further. She's panting, still catching her breath, bleeding and bruised and burned, and staring up at her incandescent sister(?).

- Seraphina (who is, has always been, Fëanáro Curufinwë) stays standing and glaring for a moment more, making sure the enemy has truly gone. Then -

- - [note: it came up, in their hasty recent recent research into the Silmarils while chasing them, that they are blessed such that evil hands can't touch them. they'd hoped this would be protection against the Bane, if they got there too late to stop it]

- - [note: in the very very brief memory-views of Maedhros and Maglor's last moments, it was clear that their grips on the Silmarils were agony]

- Phina falls to her knees, Silmaril dropping from her hand without protest. Once again it rolls offscreen, glow faded but still bright. All force of presence gone, she cradles her burned hand and sobs in agony and irreparable loss, not to mention the sheer overwhelming experience of everything.

- older sister instincts (again: despite the fact that they're twins) gets Martha moving when nothing else did. Still not actually sure what just happened, she crawls forward and hugs her sister.

...then they get out of there. Martha picks the Silmaril up carefully with a piece of cloth and puts it back in the lead-lined box, and Phina carries the box. For the rest of the episode, they hunt down Laura's Bane before it can escape them utterly - unless it tries to come back and get the Silmaril while they're still off-balance, which is entirely possible! Either way, they kill it so dead!

Season ends with the two of them sitting in a dingy motel room, or maybe back in the Shadowfax [car], staring at the Silmaril box. Martha says, "So...what do we do with this?" Phina says, "We find out what the hell happened to the other two!"

IN SEASON THREE...

...I stop having particularly coherent ideas for what happens, is what happens in season three

honestly, I was originally conceiving of this as 5 seasons a la Supernatural didn't it have a great show finale in 2010? so great. thank goodness they didn't make 10 more seasons for some canonically godforsaken reason. But Fëanor retrieving even just one Silmaril would so kick off an s4 level of divine intervention and incipient apocalypse...

I dunno, or maybe they CAN have a full season of Monster of the Week plus arcing plot which is half standard hunting, half various supernatural entities tracking them down either to steal the Silmaril or to kill Fëanor (again) for her many crimes?

They retrieve 1 Silmaril that season, while evading, idk, I guess Sauron is our Lilith equivalent... And it WOULD be fun to have s4 start with Martha kicking open Mandos's doors (she's holding 2 Silmarils; she can kick open whatever doors she wants) and demanding her obnoxious sister back...

(We COULD do a thing where the Valar deliberately put Fëanor back asap, but lbr they...would probably rather not, even if they need her alive to do certain things. On the other hand, if they did, what a fun conflict for her! On the third hand, SOMEONE has to Lúthien the other's Beren at least once - not that Martha is singing. She's going more for the 'threatens Ainur with swords' side of her heritage.)

(That WOULD create a fun 'Martha has been doing increasingly badass and angsty shit offscreen (while Seraphina was dead)' scenario that could lead smoothly into some flashbacks about what Martha was doing before the show started - namely, increasingly badass (and angsty) shit while Seraphina was in college...)

Because in terms of focus, the first 2 seasons are a little more about Seraphina. Having not Ranged for a while, she's more the audience's pov character to start, and then the big plotty drama is focussed on her in s2...and in s3, as they hunt the next Silmaril and she adjusts to being... That is, Fëanor adjusts to being...

She was Fëanor for a MUCH longer time than she's been Seraphina, but she's been Seraphina more recently and kinda more...vividly? She hasn't fully processed being Fëanor. Her hröa is human (and female-shaped and human-female-gendered, and elves don't define gender the same way and don't have gendered pronouns at all, so she's sticking with 'she/her' and it's not a big deal), and her fëa has been acting human, so her memory capacity is still mostly human, as are her reflexes, her need for sleep, etc... She's getting better, but it takes time.

But boy has this enhanced ALL of Seraphina's natural attention-seeking, forward-leaping, fight-starting, prideful, self-centered Protagonist(TM) behavior!

Which is driving Martha CRAZY, all the moreso because there's reason for it now. Aside from the fact that even with no memory of her past life, Seraphina was always brilliant, while Martha was just...normal at best. Clumsy and un-witty except with a weapon in her hand. Prone to sulking and shyness. Downright unlucky, while the universe seems to shower blessings on her sister.

Even when Fëanor is trying not to start a fight, she's so condescending. to her sister who is a mere mortal Man. Having been one for 25-odd years - still being one, in fact - Fëanor has lost much of her suspicion of Man as an usurping species (it was never really about Men anyway). But she's SO condescending.

(Martha IS her sister, still. Martha can hold the Silmaril without the Oath pushing Seraphina to burning wrath, because she is Fëanor's kin.)

(Though "Fëanor's kin" was only ever a stand-in for, roughly, "people Fëanor could trust to temporarily hold a Silmaril because he knew they'd give it back to him instantly if he asked." So, as the rift deepens between then, as she grows paranoid again...)

...returning to the point above: as Seraphëanor steps up as Person Who Can Explain Advanced Supernatural Shit, audience pov connects a little more with Martha. Also because Fëanor's radius of destruction is really fun to watch from the outside.

Yeah...Seraphina gets pretty high up her own ass over the course of s3, then dies, maybe heroically or maybe as foolishly as last time, then post-season hiatus smash cut to Martha kicking in Mandos's front door and dragging her back to life... I do love that.

SEASON FOUR...

After the shock wears of, the classic Fëanorian paranoia isn't helped by the fact that Martha IS keeping secrets. What she's been doing, who she's been doing it with...(some Maia, maybe even an Úmaia?) Though Arda's mythology doesn't have the same Heaven/Hell dichotomy as Earthly Christianity, so alaos we can't have the sexy sexy s4 thing of an angel on one sister's shoulder and a devil on the other's...

But basically I think s3 has to have been somewhat of a tragedy, as Túrin (unknowing) and Fëanor (just bad at this) played out their old tragedies in tandem. Rashness was often the undoing of both. Leaping to conclusions, action or both, though usually in opposite directions. With maybe a dash of parallels with ancient (ie, Second Age) Elf vs Man conflict - Martha is increasingly down on herself, but also, jealous of Seraphina's Protagonist Energy and increasingly ready to do some violence about it.

And none of that resolves in s3! Seraphina just gets killed!

So in s4, they have to figure it out. Seraphina needs to learn some sort of (gasp) humility, and how to let grievances (and loved ones) go. Martha needs to learn how to cope with regret and grief with means other than changing her name and moving to a different city.

(She's already starting, though! This time, she asked "what would Seraphina do', then broke into Mandos and demanded solutions!)

(...and Mandos, perhaps, was very ready to refuse until he got a good look at her fëa, silently went 'huh' in recognition, and waved them out.)

Then Martha starts having strange dreams and visions - maybe after they fight an ancient dragon? or maybe she already was, in the s3-s4 gap (after fighting an ancient dragon with her new Maia friend?)

Seraphina is initially PSYCHED about this- twinnies for real!! But they get some entity to look at Martha's fëa and they confirm that she's 100% a Man.

Monster of the Week episodes are still the main focus btw. Vampires and werewolves, cursed magical objects, rogue petty nature maiar, peacekeeping between factions of non-humans still dwelling secretly here and there... Though perhaps the masquerade is starting to fracture?

And, of course, some (other?) Maia has shown up and informed them that Sauron is embodied again and trying to complete a ritual to break a hole in the envelope of the world to let Melkor back in, which our heroes must stop!

Also, definitely need to get the 3rd Silmaril back this season. They got the one in the earth and the one in the sea...

- so, a fan favorite recurring character [a/n: IT'S MY IMAGINARY TV, I CAN IMAGINE THE FANDOM'S REACTIONS, TOO, AND ALSO TBH I'M CERTAIN I COULD DELIBERATELY CRAFT A FAN FAVORITE CHARACTER] is the twins' Uncle Earl, who isn't technically their uncle but rather an old family friend of their mother's. He is, in short, kind of an old kook. Some flavor of Southern - I'll flip a coin and say Louisianan? Lives on a houseboat, refuses to go ashore unless absolutely necessary because "the feds'll get me." Visiting nieces means there's someone else to go get groceries and gasoline (necessary, but he doesn't trust most delivery services or modern technology, either), so they've possibly never seen him set foot on land except maybe once on an isolated beach in rural Oregon. Fought in Korea. Has probably looked grizzled since age 12. Eats mostly fish, talks to birds, talks back to the radio.

- to be clear, this guy is not filling the Bobby 'faux-parent' role. ...okay maybe he is a little, emotionally. But he's not involved in "the family business." In terms of SPN characters, he's roughly Garth - appears once a season or so, is a delight for 1 episode, then we part ways. He calls Martha in s1 because there's been some "weird deaths" in the port he's in right now, and he knows they deal with "this sort of thing" but he can't get ahold of Laura. There's a mention of him in s2, that they called to tell him Laura had died. In s3, they need to lay low for a while so they join him on his boat for a few weeks, go stir-crazy and end up fighting a sea monster.

- Idk if he calls them again in s4 or they're trying to lie low again or they just run into him by chance...but they're dealing with MotW murders in some swampy Florida shore-town and on his ship (The Flower) when something much bigger than a swamp monster catches up with them. Say, Sauron sent an unstoppable Carcharoth-sized wolf monster, or maybe a super-vampire (some aerial combat would be fun), or just some Úmaia miniboss that a season or two would've been a season-climax boss fight...

- they're moored up when it arrives. Phina curses, Martha shouts for Earl to drive, drive the boat out as far and fast as he can! Earl was half-asleep at the table; he starts awake demanding if it's the feds?! Phina leaps to the wheel herself and slams the gas, while Martha grabs the old shotgun off the wall and fires at the giant shadowy wolf-monster.

They leave it howling on the pier. They'll have to go back and face it eventually, but they're not ready right now. Maybe they can even re-land far upshore, and it'll have lost their scent again...

- the giant shadow-wolf finishes howling starts chasing them running on the water

- Martha curses, and shouts Phina to drive faster. Earl (looking over Martha's shoulder, also cursed, almost impressed, at the sight of the wolf) tells her to give him the wheel. Phina shoves him away and shouts back as she yanks the wheel that they need to turn back, they can't win this fight on the water -

- the wolf is snapping at the Flower's keel. Phina curses in Valarian and yells at Earl to take the wheel and steer them back to land, while she runs back to help Martha fight the wolf.

- Earl flips a red lever in the [boat mechanics] cabinet under the wheel which we've probably seen before (Seraphina fixed something in s1), labeled "High Octane" and shouts, "Hold on, girls!" He slams the throttle again and the whole houseboat hydroplanes. The wolf falls overboard; Phina goes with it but Martha grabs her.

- the wolf gets to its feet on the water, and starts chasing them again

- "Confession time, girls!" Uncle Earl calls, steering the boat beyond full throttle while Martha and Phina get to their feet. "I did befriend your ma's dad while he was fighting in Korea. He whispered to the stars at night, when he felt lost." Adjusts a standing spyglass, tugs a string a couple times to turn on the lanterns on the prow and above the steering console, dons his navy blue-and-gold captain's hat. "I thought I couldn't have been happier to guide him home - then Elrohir met his Laura, and they fell in love. And had the two of you!"

- "Do you have a point?" Phina shrieks. She's scrambling to get her jacket out of her bag under one of the seats, because her Silmarils are in its pockets and the shadow-wolf is gaining. Martha, shooting at the wolf again, glances back, maybe having noticed that the old anecdote is phrased differently than before. Old Uncle Earl is standing unusually straight, his grizzled-gray hair gold-ish in the warm lantern light.

- "Yes!" he calls, jerking the boat away from the wolf again. Some of his Louisiana accent has fallen away, too. "Don't lose your wits - and keep holding on to something!"

- he tugs the light-cord again and the yellowy lantern-case above the wheel opens, and the light that shines forth is far brighter and paler. Its source falls into his hand as the lantern shakes with the Flower's speed, and he sets it on the brim of his hat - the illusion of which fades, leaving only the golden band on his brow with the Silmaril set upon, and Eärendil standing as tall, young, and golden-haired as when he first sailed the sacred seas. He gives the wheel another stern yank and the ship's prow rises even higher - and keeps rising, with the rest of the Flower in tow - the Foamflower, Vingilotë, every plank now aglow.

- "Also," he admits, looking over his shoulder to make sure neither of the twins has fallen off (again), "I'm your great-grandfather. I really am sorry to have - hey!"

- that's for Seraphina, who is Fëanor, Oath blazing in her heart, regaining her balance, sprinting up the deck and lunging with wrath in her eyes for the Silmaril.

- Eärendil dodges smoothly, while still keeping one hand on the wheel. "I said," he says reprovingly - while Martha bodily tackles her sister to the floor - "keep your wits Fëanáro. I'm here to help, as I ever have been for the people of Arda."

- the girls wrestle on the deck for a few more seconds before Seraphina calms down. It helps that they realize the wolf had grown giant wings of shadow and is chasing them aloft as well.

- btw: late in s4, the dwarvish researcher who's Bobby's fill-in and/or Martha's probably-trustworthy Maia friend should really be present as well for all of the above, but this ain't really about them. So I think they're just kinda. awkwardly Present for this family not-reunion. helping fight the wolf & all that.

- (Eärendil doesn't actually give back the Silmaril. But he lets Seraphina hold it for a few minutes, during which she is more at peace than she has been in millennia, and promises to let her have it again if/when she really needs it, if it isn't more urgently needed elsewhere. This is, more or less, satisfying to the Oath: as discussed "Fëanor's kin" was only ever shorthand for "people whom Fëanor could trust to hold a Silmaril without ever withholding it from him.")

Eeexcept it turns out that even Eärendil doesn't know that the Valar DO want Morgoth back, because they're kinda totally down to have Dagor Dagorath and reboot the world. Look it'll be great - Túrin - that's you, Martha - will help Eonwë and Tulkas slay him, then Fëanor will break the Silmarils, releasing the Light so that Eru can use it to Remake the world, Unmarred this time - Hey, where are you Children going? Stop stabbing people! Stab only the people we tell you to stab!

(Ulmo, ever wise, offscreen: When has that EVER worked? Especially with Fëanáro and his kin?)

Yeah, there's a scene very much like the end of SPN s4, wherein Martha gets grabbed by the celestial "good guys" and they admit that this is all kinda set-up but don't worry - here's your destined fuckoff-huge black sword, just wait a few minutes for your "sister" to once again achieve an evil end that's the exact opposite of what she intended; and then Martha has to convince the Maia she's been befriending all season to help her escape and go rescue Seraphina before she jumpstarts the apocalypse...

(Nb: Martha was already trying to stop Sauron from freeing Morgoth when the season started - she broke Seraphina out of Mandos party bc she loved and missed her sister, partly because she needed a Silmaril expert. But she's grown skeptical of the task somehow, while Seraphina - perhaps because Seraphina - has gotten vengefully obsessed with it. As Fëanor is wont to do. Hell, she has even more reason than she used to - she knows what Sauron did to her grandson.)

So, y'know

They do, of course, accidentally free Morgoth.

On the plus side, in the process, they get to jointly murder the SHIT out of Sauron, who was the REAL mastermind behind much of Laura's Bane's actions (and, honestly? Might've been the real one who killed Laura, and only set it up to look like a Balrog. Flames and shadows both can have many masters!)

SEASON FIVE, THE FINAL SEASON DEFINITELY FOLLOWED BY NO FURTHER SEASONS despite the temptation of a terrible sexy humanoid Ungoliant

I only have 3 ideas for season 5:

1. They go to Valinor at some point, of course. Perhaps to rally aid? The first elf they find, they introduce themselves grandly, Fëanor and Túrin Turambar here seeking allies to fight Morgoth! and the elf says blankly, "I have never heard of either of you." *squints* "You're Men, you say? Lord Ulmo keeps a Man on Tol Eressëa, I think. You could go to him?" But after that, as a running joke all episode, every other elf they meet recognizes Fëanor on sight (she has a very distinctive fëa) and immediately punches her in the face...and every other elf recognizes Tùrin on sight and all but tackle-hugs Martha while shouting joyfully that they never expected to see him again. Some (Beleg) actually do tackle-hug her (and nearly gets stabbed again) (#worthit).

2. To everyone's surprise, including the other Valar, Morgoth started his war upon creation subtly when he returned...but doesn't remain subtle for long, nor do those opposing him. By the end of the season, the masquerade that non-human sentient peoples and various other supernatural beings still live in Arda is all but shattered.

3. Then it's THOROUGHLY shattered in the finale. I don't know if the general human populace participates in the final battle - though I am SO weak for a moment when, like, the regular-ass armed forces, who are not necessarily allies to the heroes, show up to help fight a massive superhuman threat. When the SHIELD helicarrier shows up to evacuate civilians in Age of Ultron, when UNIT does pretty much anything in Doctor Who...I love it when the best protections & warriors the mundane human race could pull together also show the fuck up and help save the day because damnit, this is their planet too. ...Which is, in fact, very on-theme for Tolkien. So yes, actually, this definitely happens. Probably there's some conflict with US military forces mid-season, our heroes have to talk (fight & escape) their way out of being arrested for blowing up a national landmark while fighting a balrog, and the general in charge whom they'd half-convinced returns in the finale with a battalion to slam some missiles into Morgoth...

oh, and 4: Ar-Pharazón et al totally do come back from the dead. Probably on Morgoth's side lbr. They get a twisted undead immortality wherein they cannot die, just go on fighting for the dark lord to whom they once turned in jealous worship...

More importantly...

Okay, I really don't know exactly how the Dagor Dagorath goes. We're following the version that Eärendil will chase Morgoth from the skies; Tulkas, Eonwë and Túrin will fight him upon the field and Túrin will avenge his House and all the Race of Men by slaying him; and Fëanor will break the Silmarils and Yavanna will use their Light to remake the Trees, and the lands will be leveled or in some cases raised from the depths, and everyone will live happily ever after except possibly Men who aren't mentioned beyond Túrin.

This is what the Valar expect to happen (though they don't actually know-know Eru's plans.)

What happens instead is...

Most of the Morgoth-defeating does go exactly like that. Except probably they don't kill him for good - they CAN'T, because the Marring of the world is part of what Morgoth is, and the only way to undo him completely is to remake the world completely.

Which maybe could be done, by Eru if no one else, if He were beseeched? Which might be done with the strength of the Silmarils, their Light released?

And Seraphina does break the Silmarils. That's important for her - giving up her Protagonist role, just as slaying Morgoth - embracing her Protagonist role - is important for Martha.

...but I don't think they give the Light back to Yavanna. No offense to the Trees, but they never illuminated most of Arda anyway, and the world is round now anyway - and making it flat again would fuck it up - and we have, like, electrical lights, now.

Hell, maybe Seraphina is ready to give up the Light... Her instinct is to hold it back, to follow her own novel plans with it, but, oh, to regain what was lost! And she has come around on...some of the Valar. Selectively. Yavanna's one of the okay ones.

- but Martha, half-dead from the battle, drops to her knees beside her and catches her hands before she can loose the Light upward unto the grasp of the Tree-Queen.

- "Together?" Martha says (Túrin Turambar, ever the greatest Men had to offer - bull-headed, loyal, brave, unafraid of death, loving and losing and loving again).

- Seraphina's trembling lips curve into a fierce grin (Fëanäro Curufinwë, ever the greatest Elves had to offer - brilliant in mind and spirit, devoted, ever seeking to preserve and glorify the beauty of the world, and eventually learning some wisdom about letting go).

- "Together," she agrees.

- together, they hold the Light that once shone in the Trees, the Lamps, and the Flame Eternal of Creation itself; and as they release it, reach for the Great Music of Ëa that is deep in both their blood - for they are the daughters of Elrohir, son of Elrond, son of Elwing daughter of Dior son of Lúthien Tinúviel, daughter of Melian the Maia; and indeed, even before that, they are both trueborn Children of Eru, are they not? - and eschew utterly the Choice of the Peredhel by leaving the world round but Un-Sundering the Sea, that the kindred might still live apart, if they wished it - the Elder in their land undying, the Younger in their realms of quick and sometimes joyful, often savage change - but that they might visit one another, at least, as they pleased.

(I mean, wasn't the false division of siblings the whole problem from the start?)

Random Additional Features of this Show/AU/Thing

All elf and ainu side characters, canonical and not, will be cast gender-blindly, and characters referred to with the understanding that elvish personal pronouns don't necessarily correlate with physical phenotype, but Ainur do generally try to match local standards of gender assignment. Dwarves will all use he/him (and have beards!) even when fairly clearly female.

I have no idea what Martha is doing for gender once she remembers being Túrin. With all the time Túrin spent with Elves, she probably rolls pretty smoothly with being she/her now, though it's weird. Her memories definitely integrate more easily than Fëanor/Seraphina's, though, as much because she's the same kind of being both times as because there's less of them.

Both protagonists are definitely bisexual. Martha has a range of love interests; it's a running joke (at first) that Seraphina has a total Thing for redheads. Any kind of redhead. But especially creative ones - any kind of art or invention.

The role of Gabriel WILL be played by Maglor, albeit with a different death (don't worry, he'll be back for the finale) and much more...gloominess. And angst. Okay, and maybe his first appearance, in s1 or 2, IS cursing them - not knowing who they are - into a musical episode. (A WOMAN HAS NEEDS; THE WOMAN IS ME.)

When Martha meets Fingolfin and/or any of Fëanor's other siblings, probably in s5 but maybe s4, they immediately Vibe completely. It's the shared experience of growing up with Fëanor for a sibling. Needless to say, Seraphina Hates This.

Their chief researcher friend is a dwarf, who is also on the young-ish side I think, and a woman (he/him).

There's gotta be a notable hobbit on the Team before the end, too...but overall, hobbits remain symbolically representative of the Civilians in this war story.

Durin is alive again somewhere. Durin usually reincarnates in time to guide his people through particularly difficult times - or, to try. Their dwarf friend - what the hell, I'll just call him Bobby - tries SO hard to be Cool about meeting him, and fails SO hard.

I generally prefer to judge and characterize the Valar and associated Maiar as fallible to the point of clumsiness or negligence but basically wise and thoroughly benevolent...but I AM willing to throw some of them under the characterization bus for ease of making conflict in this hypothetical CW show.

...I probably have many more random thoughts but it's 3am and I want to post this whole insane thing. Feel free to ask me questions if you have them! And/or petition both the Tolkien estate and a major TV network for the rights, money, and support to help me make the terrible but wonderful show we deserve!

[firefeufuego]

Could you tell us a bit about your writing process? Your fics always seem so flawless (I understand that there’s A LOT of work behind them). Everything fits so well and the scenes do really come off as something you’d read in novels that are objectively considered very very good outside of the fanfiction world. Have you always written? I read that you outline the chapters, but I also got the impression that while you’re actually writing, things that you planned might change.

Thanks!

Ohhh, you’re so sweet!

My outlining for this fic has actually been much more thorough than what I usually do, though whenever I’m writing a story I do have a sense of the whole narrative and a bunch of tentpole scenes that I’m weaving together (those are usually the ones I come up with using the classic Stare At Your Ceiling And Think About Your Fic Before Sleep method). Sometimes those scenes do change, I find I’m mostly pulled by the characters figuring things out or falling in love at a faster pace than I’ve planned for, and like an indulgent parent I let them! I don’t do drafts and tend to do only minor edits, which probably explains why I’m on the slower side, but I know my own writing voice quite well and when it flows, I can usually trust that I’ll be happy with it. I also tend to write chronologically, which I think gives me a better sense of the flow and character arcs.

I certainly haven’t always written, despite some early first chapters of random stories floating around the internet anonymously from my misbegotten youth, I first started writing seriously in about 2017 in the Rogue One fandom, and I found it really made me fall in love with writing. I’ve always been a good academic writer (my mother was an academic on how to teach writing, so I had no real choice!), but I find the process so much more difficult and lonelier than speaking, which is how I really love to communicate. I think that’s why writing fiction with a lot of dialogue feels much more enjoyable.

Otherwise, tbh, my process also really includes a lot of therapy. The plot lines in this oxford au are certainly ripped directly from the insights I gained through working with my therapist on my experiences, and I think therapy in general just trains you to analyse people and their behaviours and motivations, including obviously your own. So much of writing Jily’s relationship comes from my own understanding of what I view as an ideal partnership and what it means to take care of people and truly show up for them.

But anyway, I’m so blown away by this compliment, it really means so much. Thank you enormously xxxx

[essayofthoughts]

Why do you call Percy an ugly duckling? Or what objectively makes him an ugly duckling? Genuinely curious here, but I find it really funny.

It's less that he actually is an ugly duckling and more that he feels it, compared to those around him, if that makes sense.

I mean... think about it from his perspective - of all his family he's the least sociable, he's the seond son, third child, and he keeps to himself and his studies. He's not an attractive proposition to most and likely he feels alienated from his classmates and other peers due to the fact he's almost certainly leaped ahead out of any kind of standard shared schooling the children of Whitestone's upper classes had and onto private tutoring with Anders. He's not sociable and friendly or capable or perhaps even witty for some time - of all of his siblings he's the de Rolo guests don't want to be sat beside at formal dinners. Sure he might grow up to being a de Rolo in the expected way, but he likely doesn't fit the general mould, right?

Next: the Briarwoods. The torture. The shock and trauma. Percy is covered with scars, both inside and out, and even if he can hide his physical scars with his clothing, he can't hide the shock-white hair he now has. He stands out and not in a good way.

And then, with VM. Scanlan is fully capable of being charming - he's charismatic as all hell - and Pike is just... sweet and lovely and capable of jokes that take you out at the knees. Grog is huge and muscled and strong which is absolutely some people's type, Keyleth and the twins are half-elves and are naturally quite striking from that, and Tiberius - well either you no longer consider him canon and so he doesn't matter or you do and, well he's a dragonborn - he's pretty striking too.

Percy, meanwhile, is human - boring, standard, one of the most common races in Tal'Dorei. He's got trauma-white hair, a whole load of physical scars, severe trauma he's refusing to acknowledge, a tendency to blow himself up with his own inventions. He's not very sociable - he doesn't really start to talk a huge degree that we see until the Briarwood Arc* - he can be abrasive and abrupt and strange early on, he doesn't know how to socialise in the loose casual way the group tends to even after a year or so with them for all that he's good at formal socialising.

Percy's exact appearance is unclear - we know he almost certainly has scars, we know the white hair. From the official campaign art he's depicted with quite a round face but small features - he can look almost pinched. From the comics he has a longer, narrower face but still, thin lips, narrow nose. Again, his is a face that can easily look pinched. (Note: I am ignoring the TLOVM depiction as I prioritise the Campaign itself in my fic and meta, but he is again, quite long-and-narrow faced.) And… well, it's often easier to be critical of one's own appearance.

He likely doesn't feel he has any of the same appeal the rest of the group do, aside, perhaps, from his noble birth which is itself a dangerous prospect to bring up, and he considers his white hair a mark of what he went through and therefore traumatic and not in any way striking. He's not as socially able - Scanlan charms, Keyleth and Pike are earnest, Grog is straightforward, Tiberius blusters and bowls people over, Vex is Vex and Vax has his own earnest kind of approach that wins people over. He's just... awkward.

So... as @chamerionwrites first suggested to me, I think Percy thinks of himself as the ugly duckling of the group. I think it may be a minor factor in why he thinks someone like Vex could never love him - but only minor. In comparison to the things he's done and the guns he's made, appearance is very low down the list and I think his reaction would be more bafflement that Vex is choosing him when she could pick from just about anyone else if she so chose. After all, Vex is canonically hot - from everyone's comments on-stream and Laura Bailey's own attestation for the description she gave Kit Buss for the official art which was simply that Vex is hot/sexy.

tl;dr: Percy isn't necessarily a genuinely ugly duckling, but I think there's very good odds that he feels as though he is.

*Which is why I think people should start at the beginning because the Briarwood Arc doesn't hit the same way without the DRASTIC shift in Percy's behaviour and so many people characterise him wrong because they're only going on the Briarwood Arc. I have Opinions, okay?

[livlepretre]

I absolutely love your fics, and I was curious about if you had any writing tips you could share?

❤️

To be extremely predictable, practice is the very best possible thing-- that, and reading attentively-- pay attention to how other writers technically format their sentences-- especially if you like what you're reading. Like, when you're writing, say you have trouble describing how someone gets from Point A to Point B. Next time you're reading a book or fic you enjoy, take note of how that author does it. Write write write and the process will get easier and more freeing.

Other than that, my biggest advice is just to let go of your reservations. Like, I used to hold back on the sentimentality on my writing because I was worried about purple prose. But I'm a foolishly sentimental person. I was reading a novel a few years back and it hit me that the writer was just going there with the emotions and that I was being ridiculous holding myself back from writing those powerful and uncomfortable emotions just because I had this mask, both on myself as the one I show in public to others but then also in my writing. Try to let down your shields as much as possible (it's really hard) and write with your heart.

As for everything else, it's somewhat minor. Find the time of day that you write best-- it's different for everyone, but writing at the right time is something which I guarantee will improve your flow. Like, I have the most free time at night, but I am too tired to do much of use in the evening hours. I write best first thing in the morning during my first cup of coffee. I don't get to do that a lot because I have almost always had either a job or now a toddler who preoccupies me during those hours, but when I can sit down to write during the right time it's magical. I know lots of people feel this way in the pre-dawn hours before work, or in the evening once their responsibilities for the day are over with. Find what works for you and it will be a lot easier. Also, location can be so key. I procrastinate A LOT more at home than I do, say, at a coffee shop. I don't know why, but I can write reams in a coffee shop and at home I am busy like, browsing tumblr and fetching snacks and unloading the dishes and on and on and on. So the right setting can make a world of difference.

And the last thing, something I am very fond of-- is something I call gentle writing. What this means is that I do not set a goal for the amount of words I write in any given session. Simply opening up the document, rereading some passages, and maybe tinkering with a sentence structure counts as writing. Anything counts, because having that flexibility with yourself makes it so much less a chore and so much more an engaging activity. Sometimes I am in a flow and I write a few thousand words. Sometimes I am not in the right mood but I laboriously bang out three or four sentences over the course of a half hour.

(Actually, I do have a few technical pieces of advice for how I write which you might find useful:

I outline everything. Everything. These are extremely free-flowing, like, run on sentences with lots of --> arrows drawn to show how a leads to b. I start with a general outline for the whole story, and then for multi-chaptered stories I then break down into arcs, and then further outline what scenes I think will be in each chapter. I personally need a general roadmap in order to write, and it really helps propel me along. Random scenes and dialogue that comes to me can be pasted into the outline around the time I think it will be good for the fic, and instead of deleting scenes that don't work I just past them into the end of the outline in case some of it can be recycled later. Obviously it's important to deviate from the outline whenever the story leads you away from it, and there are tons of scenes in my fics that were spontaneously added in, but sort of knowing where the story is going really helps. And also for fics where you update in installments it can really help with laying down foreshadowing and things.

Character motivation maps are super helpful. Every now and then I list all of the main characters, and then I list what they want and what their goals are. Often, this makes obvious to me certain tensions and potentials for drama when I realize two characters are in conflict, that maybe I hadn't realized, and it also clarifies how everyone should be acting.

Reread what you have already written. You may surprise yourself how many hidden gems you find in your old writing/previous chapters. I get lots of ideas for plot points from things I published already that were just throwaway lines originally but will now come off as intentional and foreshadowing. It's a great writing hack.)

Writing is hard and it takes some bravery to publish. But so long as you are as honest as you can be, then there are going to be readers who love your work. You've got this.

[ironwoodprotectionsquad]

just saw a take in the anti-rwde tag so bad i had a whole allergic reaction /hj

it was about how rewrites are NEVER good because it ignore's the writers' work, and that if you make rewrites you never actually enjoyed the content.

like okay, i guess AU writers hate the content they pull from! because AUs do technically count as rewrites, just probably not what OP was thinking of (*cough* fixing rwby *cough*). actually, technically all fanfics are rewrites to some degree! fuck it! everyone who writes fanfic is actively ignoring the writers' hard work! damn!

sorry for disagreeing, but i personally think making rewrites means you're more passionate than if you were to just passively consume the content you were given! because you're putting effort into ignored characters, dropped plot threads, unexplored worldbuilding and lore, etc.! who are you to judge if someone's way of appreciating content is wondering how things could have gone differently, expanding on what the writers' didn't pay attention to? there is NOTHING WRONG with wanting to rewrite something, whether it's because you're just curious about how things could go differently or if you're unsatisfied with what you got. hell, even the rewrites i HATE i still hold some respect for because damn, take it from someone who tried and gave up, making rewrites is HARDDDD, ESPECIALLY for a show like rwby with so many characters and other factors to take into consideration

anyway, sorry for ranting in your askbox lol, i'm just so....jesus christ that take made me MAD.

Hey anon! First off never EVER apologize for ranting in my inbox! I don’t mind, I know sometimes venting out your frustrations can help you feel better. I do that a lot on my blog when something annoys me so I get how therapeutic it can be.

Secondly I have never gone into the anti-rwde tag because I know I would die after a few posts. I will stick to the RWDE and James Ironwood tags where I belong lolZ.

Regarding the meat of this ask, holy shit I just- why just why? How can you look at a show like RWBY that regularly and actively takes things like themes and character arcs and say that someone making a rewrite doesn’t love the original subject? People don’t waste time on things they don’t care about. We have limited free time to do shit we’re not going to waste it working on a project that does absolutely nothing for us.

I have a morbid curiosity for what they think of AUs because how this person describes it, they should be even worse then rewrites because aus fundamentally completely overturn what the original work was. It’s all about taking the characters you love and plopping them in something completely different from their canon universes. It is literally about exploring the infinite possibilities that a universe holds. Personally I almost exclusively write in Aus in anything longer then a one or two shot. They’re just so much more interesting to me to explore because I love seeing how minor things change the bigger picture and what these characters do.

Hey you know everyone is allowed to have their own opinions and they literally don’t hurt anyone just like how rewrites and AU’s aren’t hurting anyone. They’re a way someone expresses their love for whatever it is the rewrite or Au is for just like fanart. Just because their are certain things one would change doesn’t mean they still don’t enjoy the base media the rewrite is for. Their is always something that we love in it what’s why we create for it.

I may not like every rewrite or au or whatever for any fandom I love but I still respect the work put into it because these fics take a lot of work and time and effort and writers do this for free. Their is no way to get any compensation for fic writing yet people do it anyways because they love the thing being written about and this is how they express that love. That whole sentiment is just insane for me and reeks of a mega fan refusing to understand that their precious show might not be perfect and that sometimes people might have a better idea for something. Or even if it isn’t it still has value and these mega fans are just wrong about it not having value. As I said it takes time and effort and people won’t waste time on something they don’t care about or enjoy it helps no one and trying to pretend otherwise is just insane to me.

[ghostbustermelanieking]

some thoughts on mag 200

i’ve been having trouble articulating this, but i wanted to get some thoughts down on mag 200, and the ending of tma as a whole, now that i’ve heard the finale twice and had some time to process it all. putting this under a cut in case people don’t wanna see it -- there’s gonna be a lot of praise here, but also some legit criticism. this is a way to sort through my feelings more than anything else.

first off, relistening to the finale, and sitting on it for a while, has made me feel a hell of a lot better about the whole thing. the episode comes off a lot better when you’re not vibrating with fear and anticipation, in my opinion. the final statement was very fitting and cool -- not my favorite ever, but i can appreciate it a lot as a final closing for the fears. and i don’t have an ear for soundscaping but the sound in that statement was cool as hell. the jonah magnus gets fucking murdered scene is incredibly satisfying. a lot of other people have said this, but i love that jon finally got his revenge, and was able to lash out against jonah for all the years of manipulation and beng used, and for tim and sasha and everything else. that was perfect. i genuinely thought we might not get a scene like this after 193 but i am so glad we did. incredibly satisfying. the girls made it out!! i am very glad that they’re ok and moving on and seem to be leaning on each other. (By God I Will Wring Found Family Out Of This Podcast If It Kills Me.) and the admiral’s okay. love that

and the jonmartin ending. oh my god. while i was never the biggest fan of the possibility of martin having to kill jon, the way it went down was so painful and good. i loved that final scene. i love the ambiguity -- that they might have died but maybe they didn’t, maybe they’re all right and happy and we can decide for ourselves -- i love that i got exactly what i wanted, that i get to have my cake and eat it too, all the angst of a jmart death and still the possibility of happiness... i am going buckwild. i love it. the longer i spend with this ending, the happier i am with it. i really really loved it

on another note... i do have some reservations about the finale and the season as a whole. i understand peoples’ irritations with the finale, and while i’m trying to focus on the things i did like, i definitely have some irritations. for one, i definitely wish the finale had been longer. i would’ve loved to see more of what wtgfs and basira were doing, and the actual lighting of the archives, etc. and while i completely understand why the scene at the panopticon went as quickly as it did -- it comes off very much as wild, frantic impulse in the heat of the moment where they’re in danger and trying to protect each other -- i do wish it had gone a little slower. 

in my mind, the biggest issue in season 5 ended up being pacing. and this might be a personal preference thing -- there’s a lot of things within the show that i don’t personally vibe with, but i don’t necessarily think they’re badly written. but i do think season 5 was slow. and while slow things can certainly work in a certain context (season 4 comes off wildly slow til you listen to 160), i wish more of what actually happened in season 5 had been baked into the end game. the season felt like it had a lot of filler, which drives me mildly crazy, because the end game feels rushed and i don’t think it NEEDED to be. i liked a lot of what season 5 did -- there’s some impeccable episodes, the character interactions are weirdly lighter and softer than they have been in previous seasons, and i wouldn’t trade a lot of the things that it’s given us (all the jonmartin interactions, jon and georgie briefly rebuilding their friendship, martin and melanie friendship, wtgfs scenes and intimacy, backstory, lore, etc) for anything. but i do think it could’ve been structured and paced a little differently. i also think it could’ve given some more screentime to the character stuff we got from episodes like 161, 170, 186, 190, 191, 192, 199... i absolutely love both martin centric monologue episodes, but i hate that we didn’t get anything like that for jon. (or for melanie or georgie or basira...) the best episodes of the season, imo, are the ones that broke from traditional form of domain statement domain, and the ones that focused in hard on backstory, lore, character introspection, character interaction... i wish we had more of this. 

when it comes to the jonmartin arc... i know this has been a point of contention with a lot of people, but i don’t hate it at all. maybe it’s just because i relistened to the majority of the season back in january, but a lot of the more grating moments that seemed large week to week (martin pressuring jon to smite people, the disagreements they had earlier in the season, jon using martin as bait in 176, etc etc) come off a lot more minor when you’re binging. personally, relistening to act i made those interactions come off as things they were struggling with through continued support and reassurance. there were absolutely things i wanted addressed, especially with the “kill bill arc” -- the disagreements early in the season, and how it seemed to turn on its head in the argument they have in 194. (i didn’t like martin blaming jon for the kill bill arc and i was hoping it would get brought up.) i also wanted to see a discussion of martin going with annabelle in 194 -- i wasn’t really ever mad at martin for doing it, but i did want to see them talk it out. 

but! after relistening to 200, i think i have a better handle on why that couldn’t have happened. martin goes behind jon’s back to go with annabelle and they don’t talk about it; jon goes behind martin’s back to sabotage the plan everyone agrees on in order to prevent the fears from spreading. if they’d had a big talk about trust, and working through martin going off with annabelle, and then jon turned around and did the same thing, more or less... it would’ve completely soured that discussion. jon and martin needed to be in a place of discourse for this ending to work. 

honestly, the more i’ve thought about this final JM arc, the better i feel about it. sure, jon and martin are in a bad place, and they’ve gone behind each other’s backs and been somewhat selfish, but i don’t think this ruins their relationship. for one, martin’s break in trust comes from a place of wanting to save jon and the world. and for another, jon genuinely feels he is doing the right thing, making a decision he can live with. (i have my own opinions as to how ethical jon’s decision was, but that’s another post. and i think the muddy ethics of this ending are on purpose -- it’s horror, a genre that often doesn’t offer ethical decisions.) their final decisions and final moments come from a place of love and protectiveness, and they change their decisions for the other. they still love each other, through all of it. i don’t think these late stage betrayals equivalate jonmartin necessarily being doomed as a couple (not that anyone has said that, but it’s worth saying). and i think it’s important to remember that this is still a relatively new relationship. it existed for approximately three weeks before the literal apocalypse, and it’s been under an immense amount of stress, as well as the constant fear that one or both of them would die. (which they did.) i’m not saying that excuses certain things they’ve said or done, but i am saying i don’t think the relationship is doomed. i think, if jon and martin have survived, they’ll need to work through things. they’ll need to talk it all out. and they’ll be able to! they’ll heal from this one way or another. the tragedy isn’t that jonmartin is doomed, or toxic. it’s that these moments of betrayal are what dooms them. and the beautiful undercurrent of it all is that they still manage to come together, and make decisions that mean they stay together. and that wherever they are, they’re still together. 

all in all, i don’t think season 5 has been perfect, and i can make my peace with that. (tma’s worst is a hell of a lot better than most shows’ best.) (i also think it might be worth considering how covid could have affected certain aspects of how the season was written -- pandemics are stressful, and i can’t imagine what it’s like to finish an enormous, in the works for years project like this in the middle of that. personally, i’m impressed they’ve managed to finish the show through all of this and keep it to a similar quality.) i think critiques are valuable and worth discussing. and i think plot aspects aside, there are several other critique related things that could be brought up about this season that people have articulated much better than i ever could. but i also, personally, want to walk away from the show feeling satisfied. i tend to be weirdly positive about things i love (the x files finale was horrendous, but i managed to get to a place where i was happy with it, for example), and i think that applies here -- even more so because i really did love so many aspects of that finale. i don’t necessarily want to linger in my own mind over what i disliked, especially considering the show is over. although i did want to air out my thoughts. 

i still love this show. i loved a lot of episodes this season, frustrations aside. season 5 will forever be my only live tma experience, and it got me through one of the worst years of my life, and i am very grateful for this. i genuinely did just want to air out my thoughts and get them all down on paper. these are just my opinions -- i don’t want to criticize anyone who feels differently about the finale, or the season as a whole. everyone’s opinion is their own. 

i feel a lot, lot better about mag 200, to the point of genuinely loving it. i hope my appreciation only grows as i get further from that frenzied first day and have more time to sit with it. and i can’t wait to see all the art and read all of the amazing fics that are going to come out of this ending (and write some of my own). it’s been a wild ride. i’m glad i was here for it.

[cheryblossomdreams]

A Discussion About Dramione

This is a very difficult ship in the HP fandom, alongside others like Drarry etc.

However, I think there is something to be said for it regardless, since I’ve seen a lot of anti-Dramione content with some valid points and a lot of non valid ones too, so I suppose I’d like a try my hand at rebuking some of them.

1. Dramione shippers romanticize abuse and bullying.

At first glance, it certainly looks that way. Draco Malfoy was a racist, petty, spoiled bully that jumped on every opportunity to bully Hermione Granger and her friends. He is not a good character. In the Dramione fandom, no one claims he is a good character either. Instead, the Dramione fandom recognized the canon potential for change in Draco and uses that to shape their fanfics. The largest majority of the fandom (There do exist those really young fans that don’t quite yet understand everything that will blindly defend him or create extremely problematic fanart, but they are truly a minority) acknowledges entirely all the wrongs Draco has committed, and they are many. Actually, in most Dramione fics, the writers go to great lengths to process the part of DHr’s past that was filled with hatred and insults. You can find examples of this in the fic Measure of a Man by @inadaze22​. Also to the point, most of Dramione fanfiction is written and set in a time many years after the War, after their school years, where they’ve both grown, matured and become adults, changed by time and what they went through, so it is a null point to say Dramione shippers romanticize bullying when their content is almost always set in a time where Draco is no longer a bully and Hermione is no longer a victim.

What the Dramione shippers like to emphasize is the fact that even though Draco used to be a horrible person, he had changed and grown past that, owned up to his mistakes and is now a different man. That’s what the stories they write are about. He had the potential to change already established in canon that he used later through his life to become someone better Hermione could eventually forgive and love.

You’ll be hard pressed to find a Dramione shipper that would say that while they were still in school they should’ve gotten together. Absolutely not. The content most of the Dramione fandom creates is always set post-canon, at a time where Draco’s changed and grown up from who he used to be, and Hermione recognizes his change and forgives him.

She certainly doesn’t have to forgive him, she doesn’t owe him anything, but part of Hermione’s bravery and overall character is that she would have been able to forgive him when she realized he’d changed. Plus, he saved her best friend’s life at a critical point in the war and, even though he did nothing to help her because he literally couldn’t have, which is something I’m pretty sure Hermione would have been grateful for, even a little bit. 

The Malfoy family saved Harry’s life TWICE in HP, in both extremely critical moments in the war (Draco lying at the manor, Narcissa lying to Voldemort), which is something Hermione wouldn’t have been able to just ignore and pretend like it never happened, because that’s not who she is. 

There probably is a very small percent of the Dramione fandom who create problematic content, but every fandom and every ship has toxic shippers, besides they are simply not the majority.

2. Dramione shippers use Hermione to redeem Draco.

The redemption arc Draco got in HP is extremely flimsy at best, especially considering the amount of damage he’d done prior. He saved Harry’s life, yes, but he did nothing to protect either Ron or Hermione, so personally I wouldn’t harp on about that being much of a redemption arc at all. However, I don’t think any Dramione shippers use Hermione to redeem him. In the Dramione content the things he did wrong and the hurt he inflicted is something Hermione recognizes and then, through the story, eventually chooses to leave behind. Besides, she doesn’t have to redeem him, since we know from canon he’d grown out of his beliefs eventually, privately at least if not publicly (more on this later).

3. Draco had a choice in how to act, if he really didn’t believe in blood supremacy.

No, he didn’t. Let me break it down why.

When he was 11 years old and first coming to Hogwarts, he was too young to understand the beliefs his parents ingrained into him were wrong and harmful, he simply didn’t have the mental capacity to comprehend that. He was a child that hung to every word their mom and dad said and he acted accordingly.

As he grew up though, started going through puberty and maturing, he would’ve realized that blood supremacy is wrong. Let’s say this realization came when he was 14. Lucius and Narcissa weren’t with him at Hogwarts, so if he changed his behavior to reflect his new realizations, they wouldn’t have known, right?

WRONG.

Do you really mean to tell me that if Draco Malfoy, only son and sole heir to the Malfoy family, an extremely wealthy, influential family in the Wizarding World and its politics, part of the sacred 28, well respected and with a high status in society, suddenly started being kinder and friendlier to Muggleborns and Halfbloods, people wouldn’t talk? People wouldn’t wonder, get suspicious? That such news wouldn’t reach his father, who’s got eyes and ears everywhere (evident by the fact he was able to bribe someone in Hogwarts to buy his son a position on the Quidditch team). And how do you think Lucius Malfoy, a devout Death Eater, would have reacted to receiving such news? What do you think would have happened to Draco when he came home that summer?

Draco was never abused and I doubt Lucius would start then, but I am positive he would’ve been disowned, for betraying the values his family had upheld for centuries. Lucius is a staunch blood purist and he absolutely would cut all contact with his son (disown him) when news reached him Draco was making nice with Muggleborns and Halfbloods.

And Draco knew this, he knew how strict his father was, he knew how deeply he believed in blood supremacy and he knew the consequences for stepping out of line and being anything less than the perfect son.

What would a 14-year old kid do being disowned? Homeless essentially?

So, even if he had realized the wrongs of his beliefs and renounced them, he couldn’t have done that publicly, and certainly not with Hermione Granger or Harry Potter much less, seeing as Harry Potter is the nemesis of the man his father believes in.

By the time he reaches 15 and 16, Voldemort is already at full power again and living in Draco’s house. Now things get even worse. After Lucius fails to get the Prophecy in the Department of Mysteries, Voldemort decides he has to punish him for his failure by having Draco take the Dark Mark. By this point, Draco had abandoned ideas of blood supremacy, but at this point, what the fuck is he going to do? Refuse The Dark Lord? The Darkest Wizard in all of Wizarding History? The guy who is living in his house AND holds the lives of him AND his entire family hostage? Who could and would murder Draco’s mother and father and Draco himself if Draco disobeyed? The man who murdered a person right on Draco’s kitchen table and had Nagini swallow them whole?

Even if all of that wasn’t true, and it is, how’s a 16 year old kid going to fight off a house full of seasoned Death Eaters, proficient at the Dark Arts who will use Unforgivables on him, plus Voldemort himself, plus a giant terrifying snake?

At that point, Draco is left with literally zero choice but to take the Mark and obey his mission to murder Dumbledore.

He hatches several plots to kill Dumbledore, all of which fail. When they stand at the Astronomy tower, even Dumbledore himself calls all of his plots halfhearted and weak. Dumbledore offers him help, but Draco is very clear in his regret of the things he’d done and the fact there’s no going back now.

‘I have to do this, I have to kill you, or he’s gonna kill me.’

AND

‘What do you know about me? I’ve done things that would shock you.’

(I’m paraphrasing here, these aren’t the exact quotes).

At which point Snape shows up and kills Dumbledore in Draco’s place because of the Vow he made to Narcissa.

Any way you look at it, he really didn’t have any choice, even if he did at some point during school renounce his beliefs and grow past them.

4. He tried to kill Ron.

I’ve seen antis blame Draco for this one, which is a bit ridiculous. He did not. He had madam Rosmerta poison a bottle of wine, which he sent to Horace Slughorn, hoping Slughorn would pass it onto Dumbledore. Filch hadn’t noticed any traces of poison in it, because he is a Squib, he also didn’t doubt a shipment from Rosmerta, and so he just gave it to Slughorn. Slughorn kept it around and then later he was the one to offer Ron a glass of that wine. In Draco’s plan, Ron wasn’t ever even mentioned nor included in any way. It had been an unlucky coincidence for Ron, and Draco couldn’t have possibly known that Slughorn would hold onto the wine, that Ron would ever be around Slughorn OR that Slughorn would offer Ron that same wine. Sufficed to say, Draco never attempted to murder Ronald Weasley.

5. He did nothing while Bellatrix tortured Hermione.

We’ve been over this, what could he have done? He had saved Harry’s life earlier, but that one lie couldn’t of spared Ron or Hermione, their faces were too recognizable, even if Harry’s wasn’t.

A room full of Death Eaters, some of the cruelest, most dangerous ones mind you (Bellatrix Lestrange) and he’d be 17, if I remember correctly, still not even an adult, plus at this point in the war even more powerless (considering the fact the Malfoys had fallen out of favor with Voldemort, evident by the fact Lucius tells Draco that if they deliver Harry Potter to Voldemort, all would be forgiven).

What did you expect him to do? Leap into battle and try to fend off dozens of Death Eaters, effectively betraying the Dark Lord in the process and single-handedly getting his entire family killed, if not even himself?

Would you have done that? No, of course not.

6. Draco Malfoy is not redeemable.

Now Draco’s “redemption arc”, if it can be called that, is a powerful moment but it’s flimsy. JK didn’t really ever intend for him to be redeemed or liked either, but let’s take a look at it anyways.

It is canon that Draco stopped believing in blood supremacy at some point during their school years, though we can’t know exactly when.

How can I say this, when his behavior never indicated that?

Well, I’ve already been over why he couldn’t have suddenly changed his behavior, now let’s go through how I can claim it is canon.

The scene where Draco lies to everyone about Harry’s identity.

That moment could only exist IF Draco didn’t believe in blood supremacy anymore.

Think about it, if Draco was devout to Voldemort and his beliefs like his father, he would have had no problem or conscience to tell everyone ‘Yes, this is Harry Potter, hand him over.’ It would have been favorable to him if Harry died.

And let’s be clear, if Draco had said the truth in that moment, Harry would have died. He was captured, wandless (his is broken, when they escape the Manor he steals Draco’s), Ron and Hermione captured as well, he was entirely helpless and surrounded by powerful Dark Arts wizards and witches who would lead him directly to Voldemort the moment they got confirmation it was indeed him and that would have been it. Voldemort would have killed him. Voldemort would have won.

But that isn’t what happened.

Draco looked at Harry, recognized it was him (evident by a later scene where Harry straight up says that. “Why didn’t you tell her? Bellatrix? You knew it was me, you didn’t say anything.”) and at first, still unsure what to do, asked why Harry’s face was like that, and he’s told Harry just came in like that.

Draco says “I’m not sure.”

At that point Lucius grips him and tells him that if they gave up Harry Potter to Voldemort all would be forgiven, Bellatrix brings him closer to get a second look.

Draco knows all the consequences of what he’s doing at this point, he knows what he’s risking, the literal lives of everyone he loves, and what does he do?

He still lies.

‘I can’t be sure.’

It’s a powerful moment for his character, BUT it’s not enough for redemption. The amount of pain and hatred he’d spewed for 6 years (I say 6 years because The Golden Trio wasn’t attending Hogwarts for year 7) is not redeemed by this one instance. His actions, letting Death Eaters into Hogwarts, likely torturing people on command of the Carrows in 7th year, are not redeemed by this moment, even if he did save Harry’s life.

However, though this instance doesn’t constitute redemption, it is telling of the fact Draco has changed, and changed significantly from the hateful, angry, spoiled, racist brat he used to be, which gives him potential to grow up into a different, better man.

Whether JK intended it or not, the way that was written makes Draco Malfoy more than redeemable, if not for the duration of the books, then later through his life.

Being a horrible person at one point in your life does not make you forever evil, does not mean you can not ever change. To prove this, I’d like to humbly request you to watch this video:

https://www.youtube.com/watch?v=SSH5EY-W5oM

Voldemort’s regime is very similar to Hitler’s Nazi movement, so this video is very fitting to my point and HP in general.

Here’s another three:

https://www.youtube.com/watch?v=ORp3q1Oaezw

https://www.youtube.com/watch?v=fw0vS0qvYo0&list=TLPQMTcxMjIwMjBZfqJdkbbQJw&index=2

https://www.youtube.com/watch?v=Y4gly9n9RBo&list=TLPQMTcxMjIwMjBZfqJdkbbQJw&index=3

If you don’t have time to watch, let me sum it up for you.

The first video chronicles the story of a man who’d been part of the Neo-Nazi movement, managed to leave it behind and become an activist and overall an amazing guy now.

The other three links chronicle the story of Daryl Davis, a black man who’d attended KKK rallies and even met with the Imperial Wizard of the KKK Roger Kelly, somehow despite all odds became friends with him and eventually managed to get through to Roger Kelly to the point where this man (The leader of the KKK on a national scale) stepped down from his position and left the Ku Klux Klan.

That’s real life, something like that happened, truly happened, but Draco Malfoy is irredeemable?

PLUS, Draco is hardly the first case like this.

Take James Potter as an example. James was also a rich, racist, privileged white boy, and a bully. He’d bullied Snape severely, even set up a “prank” with his friends that would lead to Snape getting attacked by a WEREWOLF, putting him in mortal peril, with great potential of killing him, that required then a rescue operation.

James attempted murder, or if you don’t want to go that far, he set up a situation that quite possibly could have gotten someone killed, and he got to mature and grow past his behaviors and redeem himself, fall in love with Lily and have a wonderful son.

Why couldn’t Draco change when James had?

~

In conclusion, I think there’s a big diifference between what the Dramione fandom actually is and what antis think it is. 

The heart of the Dramione fandom is about growing and changing and maturing and forgiving and falling in love despite the differences of the past.

It’s not about romanticizing bullying or toxic relationships, life is not black and white people, people can change and grow from their past actions and people can also forgive and move on. 

There’s plenty of examples in the books of Harry and Ron mistreating Hermione and they all move past those instances (obviously that can’t be compared to what Draco did, I’m just making a point here).

I do acknowledge that the Dramione shippers have some bad apples among them, some problematic people that take it all too far, but honestly, every fandom and every ship has bad, toxic people so you can’t really use that against them.

All in all, things aren’t the way antis always present them, there’s a lot more gray there, and I hope this entirely too long post helped some of y’all see that.

[nama-ri]

Deeper Then Rivers (ch 1)

Hello, I literally made this blog because I’m obsessed with Rayaari and I had to write a fic. I’m posting on here for now since I don’t have a AO3 account :’)  but I plan to post there too when I do!

This is my first fic. And it’s a retelling of Raya and Namaari’s story. I wanted to explore their world and characters deeper. It’s also a sort of fix it fic, since I need a Namaari redemption arc.  Please let me know if you like it! 

Summary: Namaari and Raya, two opposing forces who are more similar than they know. Together they’ll face the Drunn, find Sisu, and perhaps find themselves again too. A deeper look into Rayaari and the emotional turmoil they go through alone and together. Pre, during, and Post movie. TW for suicidal ideation in ch1, it’s minor but still.

(4 years after the drunn’s return)

‘Of Course Fang would think up a way to save themselves’ Raya thought ruefully as she observed the shining white city surrounded by water. A canal that kept the drunn away. Though it was late at night, she could see the flickering glow of lantern lights in windows and streets from her vantage point on a cliff side just outside the city limits. She didn’t know what she was expecting when she finally set foot into the land of binturis, of one specific backstabbing binturi. But this was not it, though she wasn’t that surprised.

Raya had spent the last few years of living on her own traveling. At first, she was to scared and too despondent to leave Heart. The memories of that time right after the dragon gem was broken filled her mind. Wandering the ruins of her destroyed home after the Drunn had turned most of her people to stone and moved on to wreak havoc somewhere else. She was so scared and lost back then, filled with grief as she spent her days wallowing among the stone faces. Those who survived had fled, not daring to stay in the cursed land, and it seemed she was totally alone. It was as Heart wrenching, but she couldn’t blame them.

Raya, herself had thought of fleeing too, she thought of a lot of things. At some point she even considered seeking out the Druun and ending her misery herself. It didn’t seem so bad at the time. She’d be with her Ba at least, though she had no idea what exactly happened when one was turned to stone. But it was basically a death sentence wasn’t it? In those low times, She’d make her way to the entrance bridge to visit her father, Tuk Tuk following beside her. The only friend she had left. Sitting with them and talking about everything and nothing. It was of course a one sided conversation but it still brought her comfort back then. And it would remind her of her Ba’s last words to her. She couldn’t give up, she was the Dragon Gem guardian, even if said gem was currently shattered and split across dragons knows where. No, she had to keep going or else her Ba’s sacrifice would mean nothing.

But eventually, she found she couldn’t stay in the only place she’d ever felt safe. Heart’s food reserve storage had lasted a long while but it was finally starting to run dry. And with Tuk Tuk’s recent huge growth spurt, Raya had estimated they'd be out of food in a few weeks. What’s more is that it seemed the Drunn had returned. This time in greater numbers, probably having grown by feeding on the unrest they themselves had caused. No, it had become too dangerous to stay, and though it pained her she knew it was time to leave. It did her no good to live among ghosts.

Raya continued to think back on that fateful day, melancholy creeping into her mind.

For the first time in a year, in her whole life really, Raya stepped out of the lands of Heart. She had no plan, a handful of jade, and a satchel of necessities. The night she made her decision to regain control of her life and do something, she had gone to the armory to retrieve her Ba’s sword. It was an internal battle on if she should take it, but she couldn’t bear to leave without a reminder of him. ‘And I’ll probably need it more than ever’ gulping at what hidden dangers lay ahead of her. What was waiting out there? Was there even anyone left but her and Tuk Tuk? Pushing the thought out of her head she had squared her shoulders and grabbed the sword. At the last second she decided to visit one more place, her old bedroom. She had abandoned it the first week after everyone turned to stone. The memories of happier times were too much for her to bear. When she walked into the dusty room, the waves of sadness crashed into her again and she quickly made to leave, regretting her choice to visit. But something caught her eye. A shining gold necklace covered in dust in the shape of a dragon, one bright blue gem lodge in the center. Raya had almost forgotten about it, she had flung it against that wall the same night she received it, the same night the world broke, where it landed on the floor unceremoniously and was left to be buried among other things in her regrets. 

Gingerly, Raya picked it up and warmth filled her. An angry heat. Raya welcomed it as she remembered the person that gave it to her, the one she trusted and who had thrown that trust right back at her face. Namaari. Rage filled her, all consuming. It wasn’t a pleasant emotion but it was better than the sorrow that had been all she felt until that moment so she leaned into it. It was freeing as she turned her guilt and self demeaning thoughts against the Fang princess instead. This was all her fault! Not Raya’s. And just like that a spark of purpose lit in her chest and that night she stormed out of Heart with a new mission. Find a way to save her Ba, bring her people back, and get revenge on Namaari.

And here she was. Finally so close. 

“We’ll get that scroll Tuk Tuk” she muttered to the pillbug who was watching her with a mix of worry and apprehension. Knowing she was thinking back on their journey to get to Fang. He knew Raya better than she knew herself sometimes, being her only constant companion through the years. It pained him to see her when she grieved, only a child back then. At first he was glad as they left Heart. Leaving was sad but it was good to see her more alive. But as they traveled through Spine, Talon, and even Tail for a clue on how to banish the Drunn he started to pick up on darker emotions from his best friend. 

Sensing his apprehension, Raya finally turned from the cliff side and patted Tuk Tuk’s hard shell. Shooting him a comforting smile.

“Hey don’t worry, I’ll be fine. I bet they won’t even recognize me” Raya mused “They must think I was turned to stone after all this time” Scoffing at that cynical thought. Tuk Tuk wasn’t fully at ease but he leaned into her touch and accepted that Raya wouldn’t be talked out of this.

They had finally gotten a clue, a month ago in the Talon markets. As far as clues go it wasn’t as mindblowing as you might think, in fact it was right there all along. Raya had overheard an old woman telling a group of children a story of Sisu. Even after all this time, Raya was still a dragon nerd and had stopped her shopping for supplies to listen to the full tale. Something about it was familiar and it was half way through when she remembered where she had heard this story before. Her sworn enemy herself had told her years ago  the story of the mighty Sisudatu who all thought had perished in her last stand, making the Dragon Gem to save everyone, but was actually alive swept away to the end of one of the many rivers in the land. A fairy tale but it was the best lead she had and it was then she decided it was finally time to make a visit to her old friend turned rival.

The plan? Sneak into Fang and steal the dragon scroll. Then follow it to all the rivers of the five lands to find Sisudatu. And if she met Namaari along the way, she wouldn’t be against finally taking out her anger on the binturi.

The thought of righteous retribution on the girl she spent the last few years thinking about comforted Raya in a sickly sweet way as she set up her camp with Tuk Tuk. Tomorrow she’d infiltrate Fang.

[mallowstep]

What characters in Warriors would you change by personality/development? Since there are a lot of Warriors that had lost potential, which ones do you think would've turned out to be AMAZING characters if they had more care given to them?

lmao i just did the one with bad end-of-arc stuff, so this feels fitting.

which, btw, i think these are different things, altho i won't be surprised if we see some repeats

i'm also going to do my best to not include too many background characters, because that's cheating. like yeah, sure, mossyfoot could have been a fantastic character but like she has like five lines in mistystar's omen, y'know?

and as before, if you want detailed discussion of anyone, send me an ask w one or two characters n i'll ramble on à la what i did for breezepelt anon.

okay, let's go! again, i'll be going roughly chronologically

silverstream. she could have been a lot. actually, silverstream novella would be cool? that would be fun.

sandstorm. idk. i just want to see her from someone else's pov, not fireheart. is she in redtail's debt? prob not signficantly

morningflower. i have so many questions. i want answers. i love her. she's so pretty.

deadfoot. i just. i just. he's. he's just. i want. i want. so much was set up in tallstar's revenge and yet. and yet.

until we get leopardstar's honor (and maybe even after, if it's bad), leopardstar.

related, mudclaw. we did get winds of change (which i'm still reading), so that's good! but i haven't finished it yet so it doesn't exist lmao.

mistystar. like. uh. her novella is bad? it's not bad the way leafpool's wish is bad; it's just not enjoyable, imo. but she suffers so much. i want to feel her pain; i also want to mercy kill her.

stonefur! my boy.

tallpoppy.

littlecloud.

BLACKSTAR. we got blackfoot's reckoning (which btw why is it tallstar's revenge but blackfoot's reckoning what? are we getting a blackstar super edition?)

sorreltail.

BRINDLEFACE.

ferncloud! god i love her. she's perfect.

is it cheating to say squirrelflight again? she barely fits on this list but as far as i'm concerned you could never give too much care to her. she's not really on this list i just love her.

ashfoot! ASHFOOT. i do like that she came up in crowfeather's trial tho! just haven't read it.

billystorm. he was in skyclan and the stranger a lot which was good, but i still think he deserved more.

all of the sisters. they're great characters, but you can't have too much of them. okay maybe you can, but we're not even close.

GOLDENFLOWER. GOLDENFLOWER. NUFF SAID.

oh, opposite! snowfur is a really well done character. she's given exactly the right amount of weight and time, very well executed. maybe i'm biased but i think they did a good job with her.

mothwing? uh, i just can't get enough of her but also i think while mothwing's secret made me sob like a baby i think she could have gotten a whole arc and i'd still be saying mothwing but also she deserves more and no we don't count tbc bc that's not my mothwing

WILLOWSHINE. WILLOWBBY.

the oots riverclan apprentices. they make it on this list bc (a) i gave them all personalities and (b) a lot of them have fucked up allegiances. hollowflight, rushtail, troutstream, mossyfoot: i honor you in one bullet point since you're way too minor to get your own.

millie. i haven't read the greystripe graphic novel, but i do try to focus on main arc content for these lists anyway. but millie. kind of.

a moment of silence for every apprentice and queen ever killed for a plot device. swiftpaw, shrewpaw, brindleface, badgerfang, smokepaw, coriander, and more i cannot remember: this one is for you.

moth flight. no, i know she got her own super edition i just. uh. this is a lil personal but as someone with adhd, reading her super edition made me cry. n i want more from her

fuccck okay so i don't remember anything that happened in avos that wasn't violetshine (violetshine) so my avos list is gonna be bad here but. puddleshine.

larksong, or w/e sparkpelt's mate was named.

like most of the great battle casualties.

half moon!

harestar

flametail and dawnpelt.

ANOTHER GOOD ONE: NEEDLETAIL. that's the first needle's name, right? i'm sorry i'm bad with this but anyway. needletail. she was very good. she did suffer a lot because her bonus chapters which. bs can i say. i cannot afford the b&n editions i don't have space or money for physical books. very bs. but needletail.

tawnypelt.

the guardian cats!

the other needle? needleclaw? is it needleclaw? that's a bad name lmao. people complain about twigbranch but like. at least twigbranch has meaning and i think it's cute. needleclaw is just. repetitive for no reason. what, leafstar, are you naming her after sharpclaw? yeah sure i definitely believe you smh.

all of leafstar's kits.

APPLEFUR.

velvet. i loved. just. also moonkitti's velvet is adorable. but legitimately, canon velvet too could have been interesting. mostly through her relationship (i.e., connection, not necessarily romantic) to alderheart.

ALL OF THE UNNAMED KITS.

any deputy who retired or died from normal events. any. deputy.

really the thing with warriors is when you have this many characters, every character is a chance to do something interesting.

like, uh, okay. let's look at birchfall. he's a great example for what i mean here because he's. he's not quite a blank slate but you can still write just about anything and say "look, it's birchfall."

i can make him a good father who dovepaw thinks about and misses in dovefeather:

"How are you?"

"I'm good. I miss all of you."

He purrs. "We miss you too. Whitewing and Ivypaw will be thrilled to see you." He studies her. "Has RiverClan been treating you well?"

"Yeah, I've been learning a lot." She waves her tail, excited. "I even learned how to swim."

Birchfall chirps. "Really? Imagine. My daughter, swimming."

"It's not as hard as it looks," she says. "And the water is warming up."

Birchfall licks her shoulder. "I'm proud of you, you know that? It's not easy to leave your Clan for so long."

just a cute lil convo i haven't posted any wip teasers in a long time.

but that doesn't make it the only way to write him. and i know that's obvious, but like! that's my point. there's almost infinite potential in warriors. i've read fics for canon characters but you feel like you're reading ocs, not in a bad way, they just don't have any personality.

i had to sit down and do character creation strategies for trout, rush, and mossy because they just don't have a lot going for them, canonically. i could have done anything.

so uh? yeah?

as always, thank u for giving me an opportunity/excuse to ramble

<3

[yukipri]

OKAY! So I saw your very pretty picture of that Thatch guy and read the tags and was wondering how a dark version of him would work in mer au? Because I have only just gotten up to water 7 I have no idea who he is other than what i have read in fics and your tags sparked my interest. Who is this man and what devil fruit is that and why would him being dark! Be a bad thing? Or an interesting thing? Idk. Long ask short who the fuck is that pretty man called Thatch? I like him already

OhhhhHH man, I guess the question here is, how okay are you with being spoiled? Bc in order to answer your question, I’d need to put some MAJOR, MAJOR spoilers.

Actually, if you’re already at Water 7 (and gosh damn are Water 7-Enies Lobby AMAZING arcs ;A;), you’ll understand a lot better if you can get through that first!

I HIGHLY RECOMMEND that you first finish the Water 7/Enies Lobby arc first before reading the following part beneath the cut, because this power shows up in action for the first time after that. If you want exact numbers, that’s anime episode 325 and manga chapter 441.

Explanation of Thatch and Yami Yami Fruit under cut!

＊This explanation assumes that the reader doesn’t know who Thatch is, and isn’t familiar with events in OP canon beyond the Banaro Island duel.

~~

~~

Unfortunately, we see very little of Thatch in canon (I don’t think he even has any spoken lines?), so you’ll be a bit disappointed in that regard, but explanation on that below.

But the devil fruit power. The Yami Yami (Darkness) Fruit is probably going to be the endgame last boss power that Luffy will have to fight at the end of the series.

You may recall, but when Ace met up with Luffy in Alabasta, he mentioned that he’s been tracking someone called “Blackbeard,” who used to be a member of the Whitebeard pirates, before he murdered one of their crew and left.

The crew member who was murdered? That was the Fourth Division Commander of the Whitebeard Pirates: Thatch.

We don’t know too much about Thatch in canon, unfortunately. He was a cook. He was a Division Commander, which means he was strong, and had a position of leadership and responsibility. He’s been with the Whitebeards for a LONG time (a kid who might be him shows up in the Oden flashback in more recent manga chapters). He was the first Whitebeard pirate to befriend Ace (we get to see more of this in the Ace spin-off novel), and we can assume that they were close though we don’t get to see too much of their interactions.

The reason why Thatch was murdered? He found the Yami Yami fruit. And in the Whitebeard pirates, there’s a rule that whoever finds a devil fruit has the right to eat it; that fruit belongs to them. Which means, while we’ll unfortunately never know whether Thatch ever planned on eating the fruit, it was his right to do so, which was why a dark!Thatch AU makes sense; it’s a spin off from this point, a what-if he had eaten it instead of getting killed scenario.

But alas. Thatch is murdered the night he finds the fruit, because Blackbeard recognized the fruit as the one he’s been looking for, and was willing to kill a former crew mate for it. Blackbeard eats the fruit, making him one of the most (if not THE most) powerful person in the OP universe.

The Yami Yami Fruit is still a fruit that’s shrouded in mystery, and we certainly don’t know everything about it yet (and probably won’t know till closer to the end of the series bc again, I personally feel that he’s been set up to be the final last boss).

But we see its powers in action for the first time in the Ace vs Blackbeard duel on Banaro island after the Enies Lobby arc. You don’t need me to spell out everything the power does, there’s a wikia page for that, but it’s WEIRD, and interacts weirdly with other devil fruits. WARNING, that if you read said wikia page you’ll likely get MAJOR SPOILERS for the Summit War arc, so again if you care about spoilers, I wouldn’t read it until you’re done with that ^ ^;

So that’s on Thatch and the Devil Fruit in canon. The following is Thatch in the Mermaid AU specifically.

~~

This is kinda just re-hashing things from other posts, but in this AU, the canon-divergence for Thatch occurs when he temporarily leaves the Whitebeard pirates. Which again, is a result of Ace not joining the Whitebeard pirates at all in this AU, since he’s going to head back to Dawn Island so he can form a crew with Luffy. Thatch decides to tag along for a lot of reasons, including because he wants to meet Luffy, but certainly not limited to that. You can read more of Thatch and the Whitebeard pirates’ reasoning for letting him go in this story post. As mentioned in the canon stuff about him, it makes sense to me that Thatch is the one who accompanies Ace out of any of the other Whitebeards bc they’re close, and he doesn’t have first mate duties like Marco.

In canon, Thatch finds the Yami Yami fruit and brings it back to the Moby Dick, where Blackbeard hears about it, which triggers all the events leading not just to Thatch’s death, but much, MUCH more. I don’t know how much of the Summit War you know, but I personally feel that Blackbeard never getting the chance to eat the Yami Yami fruit kinda skews that whole arc too, and pretty much everything else. Despite having such a minor role in canon, Thatch actually plays a massive role as a trigger in the over-arching plot of the OP story (Thatch deserves to be a D for that LMAO).

ANYWAY, in the Mermaid AU, Thatch finds the Yami Yami Fruit AFTER leaving the Whitebeards, on their journey backwards through the Grandline back to Dawn Island. The only people there with him when he finds it are Ace and Deuce. Blackbeard doesn’t even find out about Thatch finding it until looooong after it’s already been eaten.

So that’s how we get “Dark!Thatch” in this AU. As for whether the devil fruit actually can affect his personality? It’s all just me imagining what it might be like for a guy like Thatch to have eaten the fruit, and is not at all based on canon, bc Blackbeard’s already a pretty twisted guy long before he had the fruit. And again, we don’t know everything about the fruit even in canon, so a lot is just me guessing as well.

I hope this sorta explained Thatch and the devil fruit better!

❀ ❀ Send YukiPri an Ask! ❀ ❀

~This ask has been added to the Mermaid AU Text Headcanons Compilation post~

[livlepretre]

I started watching TVD while season 5 was airing, and I loved it. I was so excited when I caught up, but quickly started losing interest. As a person who despises pregnancy plot lines that should be impossible and make no logical sense in canon, The Originals was always a lost cause for me. I also hated the oocness of the characters. I begrudgingly made my way through season 6 of TVD and honestly couldn’t make it through the first few episodes of season 7. At that point in time, I didn’t like the conflicts, how the show kept breaking its on mythology rules, and how most characters were acting out of character. I think it’s a total shame because I absolutely adore this universe and the characters attached to it. Canon divergent fics like yours allow me to enjoy what could have been. So, did you watch TVD all the way through? Did you watch The Originals? If not, what was the straw that broke the camel’s back and what plot lines and character arcs would you have liked to see on the show/shows? How would you have preferred the show to end? Finally, what kind of thoughts do you have when you hear crazy stuff that happened (ex. Caroline having Ric’s kids and him being in unrequited love with her or Legacies having their characters fight gargoyles, dragons, etc.. throughout Mystic Falls while Damon and Elena’s kids are still in town raising their own kids) Cuz sometimes I read things and I’m like WTF? Who thought this made sense?

Okay, wow, I love that you asked me these questions, because as it turns out I have been bugging my RL friends with my tormented TVD takes for years now. I’m going to put everything under a cut though because this answer promises to be very long. 

Edit: This got sort of stupid long. Read at your own risk haha. 

So, I think to answer this, I have to address the things I love so much about TVD and why I’m still thinking about it/writing fic for it years and years after it lost me. I’m going to take this chronologically because there’s a lot to unpack. 

What I loved

My introduction to TVD was over the summer before season 2 aired; I remember seeing the promotional materials on the CW before I left for college the fall before, and writing it off (which: fair of me, those season 1 promotions were abysmal). But luckily my sister, God bless her, understood me better than I understood myself and made me sit down and marathon the first season with her. I made fun of it pretty hard until the episode where Vicki got turned, and then an episode later got staked, which shut me up and got me paying attention. At some point over the course of the season that show went from haha laugh at it to holding my throat and there are sooo many good reasons for this. I remained hyperfixated throughout seasons 2-4, which I would religiously watch just as soon as I could pirate them. 

The thing about TVD was that it was, for several years, a master class in narrative structure. What I mean by this is that it did two things very very very well: 

1) one thing always led organically to the next -- the thing that actual kicks off the plot in TVD is Damon coming to town to open the tomb. From that point on, he opens the tomb, which leads to the tomb vamps escaping, which leads to Katherine taking notice, so she comes to Mystic Falls, which leads to others discovering Elena, which leads to Elijah, which leads to Klaus, and the other Originals. Very neatly done, and a wonderful, fast way of constantly shifting the action in believable and organic ways 

2) they had this thing where they would announce something cataclysmic, like opening the tomb or sacrificing the main character, or even dropping the veil in season 4/again (?) in season 5, and in most shows, the whole point would be to avert those things-- but TVD has this way of announcing the doom and then forcing us through it. 

There were other things-- stakes were high (ha! pun!) -- Vicki could get staked midway through season 1, Jenna could get killed in the sacrifice, and they could sweep the rug out from under you by having the whole premise of what you THOUGHT you understood about the show turn out to be untrue-- the first big instant of this was the certainty that Katherine was actually in the tomb and if the tomb was opened that Damon would save her-- finding out she was never in there at all was mind-boggling. Another really excellent moment I recall was 2x09-- so, the thing is, one of the biggest mysteries in the show up until that point was “Why does Elena look exactly like Katherine?” We knew/suspected she was a descendent, and the term doppelganger was bandied about, but it felt really shocking to have it LITERALLY be used in the mythology (to see your doppelganger is a sign of certain death, which it IS how CREEPY!) and then in 2x09, everything gets turned on its head AGAIN when we discover “it’s not that Elena looks like Katherine, it’s that Elena and Katherine look like someone else”-- the idea that KATHERINE is a doppelganger was earth shattering. This show. 

Also the way that the show played with audience expectations? Like, in 1x04, the audience expectation would be for Elena to be angry at Stefan and not trust him after Damon (or was it Caroline? It’s been years since I’ve watched) says some stuff intended to set her against Stefan. But instead she figures it out fast and comes back to slap Damon and apologize to Stefan. It was an early sign that the show would jump over the expected hurdles. One of the brilliant things it does too is play with the horror genre. The characters (in the early seasons) were some of the smartest on tv because they were genre savvy, and they thought like a real person would and not like a character so often-- I remember being amazed by how often they jumped over the obvious pitfalls and came to sound conclusions. 2x12 The Descent sticks out to me-- Elena versus the mad dying vampire. Also the entire daggering sequence in 2x16 is God tier, as well as Elena’s bargain with Elijah in 2x11. Hmm and also the way the show would even play with expectations based on the fact that it’s a show? The fact that Katherine and Mason were working together is still one of the greatest plot twists of all time in my opinion, not because of how left field it is or wild or anything, but because it should have been totally obvious but our expectations of season premiers made it totally camouflaged! Like, yes, Mason and Katherine DO show up at the exact same time... in 2x01, which is a season premier, so we as an audience know and expect that new characters will be introduced in that episode. The fact that the show knew that and played us for fools will always go down as a favorite moment for me. 

Well. Needless to say there are countless other amazing things. The darkness of the show and its commitment to exploring vampirism as a curse, and oddly a very human one, was mesmerizing. Damon breaking Jeremy’s neck. “I miss being human. I miss it more than anything in the world.” Elena slow moral decay. The shock and horror when Caroline is turned. The relationships between the brothers. The way that the gang can’t ever sit easy with each other-- that Bonnie sees how Damon and Stefan are a poison, how everyone lies to Tyler and it hurts him so he hurts them-- Katherine’s doomed history? Tragic. Beautiful. Amazing. 

I remember the fandom was a very different space in those early seasons too. The show was just so dreamy and frightening and dark. It was like a very bad dream you couldn’t wake up from and maybe also didn’t want to. The fics were kind of gloomy and frightening and people were much more willing to explore the monstrous side of the show. 

So. The issues that I had. 

The very first thing I remember feeling a twinge of unease about was when they put Katherine in the tomb in 2x07 only to take her out again in 2x09. I remember her getting sealed up in that tomb in 2x07 was HORRIFYING but also??? Brilliant? Justice? Amazing? It was taking out a villain when and how they said they were going to do it and I loved it. I didn’t quite like how she kept being an active role in the story, no matter how much I adore Katherine as a character, because it destroyed the impact of her in that tomb at all. If it were me, I would have put her in that tomb and saved her as a character, only to take her out like seasons down the road when the audience may have mostly forgotten about her and she could have been a secret ace. 

There were other ultimately minor things in season 2-- the sun and moon curse being a fake, for example-- which at the time ruffled me a bit but I was willing to just brush it off because, well, season 2 of The Vampire Diaries is unspeakably good. 

I went into season 3 with the same level of hyperfixation as I had in season 2 (read: immense). And those first 6 episodes were pretty damn near perfect, with 3x05 being like the horrible culmination of everything I, already a klaulena shipper, could ever want. 

My first sign that things were going in a weird direction was 3x07, Ghost World. I remember that episode feeling... weaker. Like, what was the point of Lexi having Elena torture Stefan? That didn’t seem to do anything at all. The Other Side stuff is something I pretty much disliked at the time but at this point I’m so used to it that I accept it as a kind of limbo space mostly for vampires (and also witches? but hopefully more pleasant and less of a wasteland of eternal wandering for witches than it is for vampires). 

3x08 Ordinary People was an abomination and I still hate it and everything built on it. So, at the end of season 2, Elijah says his family comes from Eastern Europe. A nice, normal answer that makes sense. It also dovetailed really well with Slavic vampire folklore, so there was a great tie in that felt right with the meta-awareness of the show (it was for a while very much so a vampire show about vampire shows, and the diaries were part of that meta level writing). The idea that they were VIKINGS in VIRGINIA in this random WEREWOLF SETTLEMENT gives me such a migraine that I don’t think I can go into it here. I hate it with an unflinching fury. I think I used the “Mikaelson” name once or twice in FE and I hate myself for that more than anything else I’ve ever done in my writing. It makes no sense and betrays the writers as not even having a very vague idea of history and it is like fingers on a chalkboard for me. My fingers, feeling all of that horrible chalky friction. ELIJAH THERE WERE NO WILD HORSES IN AMERICA A THOUSAND YEARS AGO. WHY ARE YOUR NAMES HALF VIKING AND HALF HEBREW EXCEPT FOR THE RANDOM GERMAN NAMES. WHY WHY WHY. 

Deep breath. 

The other thing I really hated in that episode was Rebekah’s “it’s a protection spell of course.” 

Honestly I think that was the actual sword plunging into TVD’s heart and the show just slowly bled out from there and I was so shocked and betrayed by that that it just took me years of trying to stop the hemorrhaging before I finally accepted that it was a mortal wound. 

You have to understand that I continued to watch seasons 3 and 4 the way an abandoned dog will wait for its owner to return. I just couldn’t help myself. It had been my favorite favorite show (and sort of still is?)

Well. Why did I hate this protection spell thing so much. TVD had made it very clear in the early seasons of the show that becoming a vampire was BAD. It was a fate worse than death. The whole angst of season 1 relies on us feeling the TRAGEDY when Giuseppe murders his sons and they become vampires. Because vampires in TVD aren’t inhuman, per se; they’re still the same person, they still have their souls, their consciences, their moralities... they’re just also saddled with this insatiable burning thirst for human blood that drives them to commit the very worst deeds, that drives them down these dark paths of horror and soul-scouring guilt as they repeatedly succumb, over and over and over and over again, to their worst impulses, until they finally stop caring and become monsters in truth. Until they forget about the simple warmth of a human connection, of good things like love and friendship and family. TVD made it clear that to be a vampire was to be in hell. It’s why Damon promises Stefan an eternity of misery. It’s why the group responds with HORROR when Caroline is turned in 2x02. It’s why Damon’s confession in 2x12 rips at our hearts, and why the stakes are so high when we wonder whether Elena will be a vampire at the end of season 2. The show is very clear that it’s not actually becoming a vampire that makes us monsters, but the actions we take once we become vampires that make us monsters... but that those actions are also nearly inevitable and precipitous once the transition occurs. It’s really tragic. 

I remember the summer before season 3 aired the fan spaces were all abuzz with speculation about “what could Klaus have done that was so bad that not only was the vampire curse inflicted on him, but also on his entire family?” (that was the prevailing theory for how he could be the “first” Original vampire-- he was the one who had actually done whatever the thing was that had precipitated what was OBVIOUSLY a vengeance curse.)

Ordinary People was like LOL! NOPE! Joke’s on you for thinking we were going to actually discuss self-destructive behavior and the human psyche through the metaphorical lens of vampirism ;) 

There were definitely other things in season 3 that bugged-- the serial killer thing was hard to follow (and I tend to criticize anything that’s hard to follow for any viewer watching week to week, while also paying close attention... because that means it’s probably not well enough explained), the white oak stake bridge was LOL fine, it did lead to some epic stakings by our boy Matt tag-teaming with Elena and Stefan, and I did enjoy the idea that the whole bloodline dies... anyway, I digress. 

The flashbacks started being a problem in season 3. In season 1 & season 2, the flashbacks basically all told a continuous B storyline. In season 1, of course, we have 1864, in that gorgeous blue cast. We get a little additional information of that in season 2, and it’s amazing. But then in season 2, the B story is 1492, in that golden cast, also amazing. 

After that the flashbacks that start in season 3 are pretty random. We don’t have stories being told in the past throughout the season, but instead, random one-offs in random colors telling random stories. Not bad, per se, but definitely less affecting and much less cohesive and meaningful. 

Here’s the big big big issue with season 3: Klaus. 

The whole point of the season was to kill Klaus. It was explicitly stated. 

Every other season, once the motivation was stated, the show went through with it: open the tomb, stake the tomb vamps, take down Katherine, find a way to save Elena during the sacrifice, etc. 

Now, as everyone knows, I love and adore Klaus. But I also sort of hate him because I think the writers loved him too much and they wrecked the show a bit with him. They wanted to create drama with a “kill Klaus!” arc but there was never that much tension in it because I was certain from 3x12 onward that they never would. (well, I was stunned when he got staked at the end of season 3 and I just sort of whispered, “good” to my empty dorm room at the time-- but that was short-lived). It really really really took the wind out of the show’s sails when they didn’t stake him by season’s end, so the MOST major thing I would have done would have been to kill him off somehow at the end of season 3. 

If they didn’t kill him off, they should have devised a way to make peace/have Team Mystic Falls need him and him need them much earlier and much more concretely than they ever did. With the way things played out in actuality, our protagonists failed to do the one thing protagonists MUST do: take defining action. All of their actions in season 3 are completely for nothing, and that makes the whole thing fall apart. 

This also brings me around to something that will surprise absolutely no one: I have a lot of problems with the way that klaus x caroline was handled. I think it COULD have been done convincingly, but the writers were lazy/were very clearly just trying to get Klaus a ship because the actor is hot, and so they gave us the horse drawing, and the prom dress, and the ball gown, and frankly, a list of villain decay moments that I just... don’t know what to do with. And the ship pretty much ruined Caroline’s character because the whole point of her was that she was so much deeper and kinder than anyone gave her credit for, even than she gave herself credit for, but the ship was like LOL! NOPE! (I have a lot more on this written elsewhere in my blog) Also my boy Tyler got cut out of a HUGE amount of this show to make room for this ship, which was lousy. 

My last thought about season 3 is that this is when the characters-- especially Damon-- started to really decay. Rewatching early seasons of the show is WILD because Damon is WEIRD. He is so other and off-putting-- beautiful, but very very strange-- it’s in the way smolderholder held himself, the way he spoke, all the little things that sent little alarm bells ringing. He was delightfully inhuman. 

I vividly remember the stupid chipmunk argument in... 3x16? somewhere around there-- with Stefan in some back alley in Mystic Falls and I was just??? That was the moment I realized that all of those things about Damon’s acting that had appealed to me had vanished. I think the writers were trying to make him more likable/humanize him so he could be the main love interest, but it was very frustrating to me. 

Moving on to season 4. I was actually into the sire bond because it was difficult and problematic and felt to me like a chance to explore more complex issues through the “vampire” metaphor the way the show had done in earlier seasons. (I know this storyline is pretty much hated, but my stance is: if you don’t want dark, problematic, uncomfortable, and toxic storylines, don’t watch vampire genre tv shows. That simple!) 

I don’t mind the idea of the “cure” and I don’t even mind the Hunter thing/that Jeremy could be a Hunter (although I found the coincidence dumb). 

ACTUALLY what I would have liked VERY MUCH would be for Elena to go through most of her season 4 storyline-- becoming a vampire, having Jeremy die and her turning off her emotions, then going on her evil vampire rampage and actually killing and hurting innocents, only THEN for her to have the cure forced on her after like a year of being a vampire. The defining arc of Elena’s character in the early seasons is her moral decay-- Katherine is the warning of what Elena will inevitably become if she continues down the path she’s on-- so it would be fascinating to see her go DOWN that path, very far, and then to have her become human again-- and have her actually have to deal with the horrors she committed. (I have a bit of a theory that vampires have one foot over the veil into the realm of death, and maybe this, if anything, makes it easier for them to forget their humanity/become truly monstrous, but that becoming human again would slam all of that into the front and center again)-- it would be a way for Elena to actually have to confront her story arc-- what path is she going to go down? Is she going to continue her slide into callousness and monstrosity? Or can she turn it around? Must she give up the Salvatores to do that? 

I don’t really mind the season 4 Silas content. Will say that once again the inclusion of any of the Originals in season 4 is pretty useless which is frustrating to me, and their place in the TVD narrative in general is an annoying dead-end. 

However, I do think that Silas introduces a big shift in TVD: their need for a yearly big bad. As I mentioned above, TVD was always “one thing leading to another” -- starting with Silas, they started introducing yearly Big Bads (Silas, the Travelers, Kai) that were arbitrary and frustrating and were the thing that most broke me out of my suspension of in-universe belief. The idea that the show would need a big bad was a fundamental misunderstanding of the narrative structure of the first 3 seasons by the writers in those later seasons. 

You asked what the straw that broke the camel’s back was and I can tell you, it was this: 

I laughed myself sick and that was the last time that TVD was appointment television for me. I call this the Party City Greek costume. 

I did eventually marathon season 5 well after it was over, and even though a lot all of the ways the show retconned itself drove me insane, it was overall fun just to watch for the drama and the pace. 

My biggest problems with season 5... 

This was around the time that Bonnie was dead then alive then dead then alive... I can’t actually keep track any more at this point what’s up with our girl 

Stelena pretty much disappeared. 

I actually think one of the bigger problems in the show was that the show was stronger when it was mostly about Damon, Stefan, and Elena, and at some point they gave more equal screen time to other characters which ended up meaning that I spent a lot of screen time with characters I just didn’t care about (ENZO) 

UGH THE DOPPELGANGER STUFF

So, if you’ve read my fics, you know I spend a huge amount of time parsing the mechanics of the doppelganger, how the magic around it might work, what the implications are, etc. 

I CAN’T STAND what happened to the doppelganger stuff in season 5! UGH. HOW DOES TOM WHAT’S HIS FACE EXIST? DID STEFAN HAVE A BABY WHEN HE WAS 15?!? Seriously!!! HOW!!!! Because it’s real clear in canon that only DIRECT line descendants create doppelgangers! 

ALSO. The Amara thing. Just stop it. 

This actually leads to a pretty major issue: TVD had a bad habit of establishing really exquisite doomed histories and then wrecking them with too much information later. 

The story of Tatia Petrova is a masterpiece in doomed, tragic, romantic mythology. Teenage girl falls in love with two brothers and so their parents decide to use her as the blood sacrifice for their creepy curse “protection spell” and so they murder her-- you get the image of how terrified she must have been, dragged out of her home in the middle of the night, trapped, maybe dying slowly, how she dies for loving too much, for being just a little too wild, a little too trusting-- and how that curse echoes down the ages. The idea that that act of savagery somehow created the doppelganger line. The Amara thing (as well as the Originals revelation that Elijah killed Tatia) gut the impact of that TVD myth-- which was a strong one in the imaginations of the viewers. 

And the idea that vampire doppelganger blood is useful for anything??? I can’t. The WHOLE POINT of season 2 is that Katherine turns herself into a vampire to avoid the sacrifice! We are explicitly told-- you can’t be two things at once, if you become a vampire, you negate your identity as a witch or a doppelganger or whatever-- literally the WHOLE PLOT of season 2 centers on how useless Elena’s blood would be if she were turned! And now Stefan is in on this? NOPE. I’m out. 

Anyway, another myth that got wrecked in season 5 was the Katerina Petrova myth. Part of her tragedy is that she never even gets to hold her baby. Is the idea that her baby grows up and has a normal life and Katerina never even gets to find out anything about her. That she completely loses this one thing that might have humanized her. And then of course the great tragedy in England that ultimately destroys her. I really hated meeting Katherine’s daughter, because it reversed the pathos of Katherine’s past and rendered it emotionally inert. And also Nadia sucked. 

The Travelers were fun enough but also they made no sense (DOPPELGANGER VAMPIRE BLOOD) but most especially I hated the idea that Katherine was a Traveler just WHY 

I got... partway through season 6, although, I couldn’t tell you where exactly I stopped watching for no particular reason. 

I remember really enjoying Tyler x Liv and the way that they made Tyler human again, and brought Alaric back, etc at the end of season 5-- it felt like such a fresh reboot to everything and it’s one of the things that TVD does really well. 

That Thanksgiving episode sticks out to me as a train wreck though because I realized that the central conflict had absolutely nothing to do with any of the characters I actually cared about, and was instead about the twins... whom I liked, but not really any more than I liked the Martins in season 2, you know? 

Also vampire blood being unable to cure cancer sounds arbitrary to me. 

As for how I would have preferred the show to end? 

Hmm. Well. I think it should have ended sooner-- this “the show is really about these two brothers” is just incorrect. The show was about the two brothers and Elena. It was about that triangulated relationship. I think that even if Elena ended up with one or the other at any given point in the show, the other third point in that triangle should have stuck around-- I’ve always disliked Stefan slinking off in season 5 because it tears apart the foundation of the show. 

I have no idea how it should have ended. I guess? the ending? was okay? I’ve never actually seen it. 

On to the Originals... so, the magical pregnancy didn’t really bug me because there are plenty of fandoms where vampires can procreate/I guess if Klaus is part werewolf, he has a foot closer back to the mortal coil, and vampire bodies in TVD have heartbeats, are warm, digest food, etc, so it was like, fine, sure. 

I would say I watched... some of season 1? and I watched most of season 2? I watched whatever I needed to watch for fic research basically, and have a very confused sense of what happened on that show. I’m always skeptical of anything set in New Orleans though because no one ever seems to leave the French Quarter which is so preposterous because the Quarter is probably smaller than Mystic Falls. But anyway. The tribrid thing has never made sense, but I just sort of rolled with what I’ve heard about the Originals? I really love Marcel and think he was actually the protagonist of the show, whereas Klaus was definitely the antagonist. (I just can’t bring myself to side with Klaus on pretty much anything...) 

Okay I think this ties up all of your questions/most of my thoughts except for maybe... what I find absurd. 

To answer that: every time I learn something new I am stunned and my jaw drops in a literal guffaw. For example, today reading your ask was the first time that I found out that Ric was unrequited in love with Caroline (although, former student carrying her former teacher’s children also makes me uncomfortable). As far as I know from seasons 7-8, Damon sleeps with someone named Crystal, Caroline somehow magically carries Alaric’s children with their dead witch mom (and apparently Alaric is in love with Caroline while that happens?), Matt might be a cop, Damon and Stefan fight the literal devil and Katherine is their queen, Bonnie and Enzo??, Caroline and Stefan get married, what’s a Jeremy Gilbert, maybe Damon sets Elena’s fake coffin on fire?, Damon kills Tyler (WHICH IS UNACCEPTABLE), there are witches who are vampires called Heretics, and also there are Sirens and maybe Mama Salvatore is one. The end. Every time I learn something new it’s the most amazing thing I have ever heard and I can’t imagine how it could be so, but I accept it. 

Am I missing anything? 

Legacies is so beyond my comprehension that I just have to roll with everything I hear. God Bless Matt Davis for leading that cast. 

[kikiscastleinthesky]

THE SOKKASM ZUTARA

I’ve seen a lot of tumblr blogs that ship zutara and I decided that is time for me to open mine too. So, yes, I’m a zutara shipper. And for the time being, my posts are going to be dedicated principally to analyze the ships in ATLA. 

Disclaimer alert:  I’m not forcing anyone to ship zutara. And I won’t accept hate because I (and many others) may have a different opinion, If you are one of those persons I invite you to leave, don’t waste my time and yours, because I’m not even going to reply. Everyone has the right to ship whatever they like and want, without been mocked, harrassed and humiliated. 

Well... now that everything is settled: 3...2...1 go!

I’m starting with this small analysis, because every zutara shipper has been attacked on why zutara and zutara is horrible yada yada but, this ocassion I’m gonna use all the attacks we get and defend it. 

I. Zutara is way the worst toxic relationship:

You call Zuko the abuser, the toxic and the bad tempered? Then you     didn’t get a clue of his redemption arc.

You call zutara toxic for:

a)     giving your mother’s closure and final acceptance into the group?

b)     saving each other’s life?

c)     being the “leading co-parenting” of the group?

d)     support you when you’re about to beg for his uncle forgiveness?

II. The cave scene didn’t mean anything, and just think about it, they would never ever get along well:•      

  Of course, I misunderstood Zuko confessing his own grief, probably he just hates her.

When Katara opens to her mother sorrow like she never did with anyone was like no big deal.

 That part when she offers to heal his scar with SACRED water was totally illogical.

And being the first person who he let touch his scar really said to me that they were absolutely toxic.

 Yes, he betrayed her initial trust. And it hurt, but guess who betrayed worst? The man who for three years was his father. But nope, Iroh, should never forgive Zuko, for what he did. (Right? Katara was betrayed and she should bever have interest in him, so Iroh would never forgive his abuser, right?)

III. Zutara is about getting in love with your abuser:

The abuser love? When did Zuko abused Katara? When did he forced to do something she didn’t want? Did he ever physically abused her or sexually assaulted her? Even if he tied her to a tree, he never humiliated her, he never hurt her or overpass against her. Or are you trying to make up his whole plot to eliminate all his attacks towards team avatar only rest in the female character? (Have you forgot how he betrayed his uncle? Or even himself?)

IV. Zutara is an age gap, it would be underage thing. “You don’t like Aang because he is a child and still pair Zuko, being a minor.” You want to hypersexualize two kids (Aang and Katara) into having sexual interest.

Katara would have been dating an underage guy too. She would have been 18 and Aang 16. I know! Age gap only matter when the man’s older. Both Katara and Zuko had gone through puberty, and both were in adolescence, both shared the same maturity level. Yes dude, there a huge difference in being a CHILD and being a TEENAGER, yes, still minor, But with puberty hit already.

Actually, I still believe even being 11-12 you can get like a… spark… a hint. Even if its not a relationship whatsoever, and not having sexual interest of any kind. If you really want to see what closest we get to a ��real” attraction and potential between kiddos that age, you get S1Mike and Eleven (stranger things) / you get Chihiro and Haku (Spirited away) / you get Pazu and Sheeta. (The castle in the sky) –Wooo, that really changes things right?

But yet there are people that believe shipping zutara is “pedophile” I thought in seriously not replying to this stupidities but, here I am, dismantling their theories.

So, this is real life. An adult person trying to sleep with a prepubescent kid. So… there is no support on this. Because a ship is about two fictional characters in a fictional story.

What about fictional pedophilia? Well, we can change that: Fictional pedophilia is a psychosexual disorder when you ship an adult fictional character (+18) to have a sexual interest in a fictional prepubescent child (-12) and / or attempt to engage both characters in sexual acts.

So step one… are either Zuko or Katara either an adult or prepubescent child? As you can see in the image at the right, both have gone through puberty. Step two, are you trying to a couple of minors to get sexually involved? No, this is a love story, not porn. And before you yell at me for the porn zutara comics/fics on the web, I guess you should see the porn Kataang /fics comics on the web too.

But I don’t hate any ship. So, technically, neither Kataang, nor Sukka, nor Yukka, nor Jetara, nor Maiko is pedophilia.

Ok, yeah yeah its not pedo, but is statutory rape, so yet it’s illegal.

Oh yes, if we state that 18 is the age where you are considered an adult (at least in my country) both are minors, your term is partially correct. But guess what would be statutory rape too?

Sukka (15) and Maiko (16-17), both implied to have sex relationships and canon during the series.

The episode "The Southern Raiders" became (in)famous among the fandom for what is a truly epic instance of this trope. Zuko bumps into a very flustered Suki on the way to Sokka's tent, and she hurriedly excuses herself. He walks into Sokka's tent to ask him a question and finds him pants-less and surrounded by flowers and candles. He even greets Zuko with a suggestive "Well helloooo..." before he realizes who itis. After a short talk, he rushes Zuko out and sticks his head out to call for Suki. And if there was any doubt, Sokka is shown the next morning fiddling with a flower necklace for no apparent reason... except to indicate that maybe Suki had been “deflowered”.

And yet, if Kataang had sex, it would be statutory sex at some point too: 16 and 18 -Conclusions: Statutory sex takes all ships equally.

V. Poor Aang he would be devastated.

Kid, he’s 12, in the comics he’s 13-14. Or what? Haven’t you guys had a broken heart ever? Your high school sweetie? Or Aang’s so frail to not be able to find love? To close himself for a better opportunity? Seeking your own happiness in not selfish. What is selfish is seeking your own happiness at the other expenses.

And even that, we all know what would Aang do if Katara starts a relationship with Zuko. (Even if it wasn’t Zuko, I highly doubt he would like Katara dating someone else) He would go on avatar rampage. That is NOT healthy, that is NOT romantic. That is extremely possessive and selfish to do. It’s psychotic. Because Aang cares more about himself than Katara’s feelings, even if she would be happier without him.

VI. Zutara is all about sex interest.

Well once more you mistake chemistry with sexual needs. Wanting me to sleep with my husband means I only use him for sex relief? If I find myself sexually attracted to anyone probably means I just want to sleep with that person and nothing else.

VII. A hug is all zutarians have to acknowledge zutara:

We have a complete extended analysis in all the small details, but we like to use that forgiveness hug because in that hug you have more potential that all the kataang scenes all together. We have thousands of complete analyses, pages dedicated exclusively zutara. 

VIII. Katara “fell in love with Aang” and it’s not one sided.

Uh... Nope, just because two persons are good friends it doesn’t mean they are a good couple. Yes, the way the both of them interact is absolutely beautiful, But not romantically.

Do we see Katara’s view on romantically being drawn towards Aang? Yes, we see it, and yes, unfortunately, is one sided.

How Kataangers complete this:

·       The fortune-teller: I didn’t see like “Wow omg the avatar is going to be my future husband!” But… was like “uh… really?… well, I guess it’s him” Zutarians and Aunt Wu are the base for many backs up theories. ;) Aang is not the only powerful bender you know? And actually, that episode is way trying too hard to demonstrate the crush Meng has for Aang and Aang has to Katara. How is even healthy to accept that sometimes persons don’t like you back and it’s not the end of the world.

·       The cave scene: I forgot that Katara is telling him to be her boyfriend and they will live happily ever after. And really, it all gets us to a real Oma and Shu theory. Not to mention that they were “forced” to kiss because their kids innocence believed if they kissed, they wouldn’t die, and that Aang messed up things as well. But if you see it beneath, if she was truly interested, she would have told Aang: “wow omg we kissed, ok. let’s give him a clue…” nothing, she goes back in treating him same as always.

·       The headband dance: Well that’s a fair point yes. Actually, I felt something different…unfortunately Katara later had to tell him not to kiss her.

IX. Zutara is because you projected on Katara and had a crush on Zuko, because Katara and Zuko were your favourite characters and because is the bad boy style romance.

My crush was Jet <3, and zutara was the most logical endgame for girls. Ask any girl, ANY 14 yo who would like to date: A high school, nice and handsome guy or a 7th grader that had potential to be her best friend. (See the logic) 

And nope is not like “Insert fav characters of the opposite sex to ship them” You need to see real development.

I don’t know why they stereotype Zuko as the “bad boy” – relationship archetype. Zuko is never seen to be the classic fuck boy who treats girls like shit and suddenly there comes a lady to change him. Maybe he is a “bad boy” (confused though) in S1 and S2, but his redemption arc is literally the answer of why he is not “bad boy” anymore.

If Katara was truly and really romantically interested then she wouldn’t have friendzoned Aang. Once? Nope 4 times. And also… are we forgetting kind of imagery…

Friendzoned  

 When Aang fixes her a small necklace with the fishing  thread.

 When he kissed her at the invasion. She didn’t  reciprocate it. (I’m not even mentioning the mommy proud speech)

 When he wanted to talk about the kiss in the western  air temple (Comic love is a battlefield)

 When he kissed her at the play and she had to told  him to back off.

 Strange imagery

 She was June Pippinpaddleopsokopolis (Aang’s  granddaughter)

When Aang got shot, she held his body in her arms in  the exact way Mary held Jesus in Pieta’s sculpture.

 She was Sapphire Fire. (Aang’s pregnant mother)

After they got married, in the book legacy, she said  she enjoyed most seeing Aang becoming a man. (Honestly ladies if I got a BF  the least I want is seeing how the kid transforms into a man)

I’m looking forward to watch you grow into manhood  as I did to your father (Katara’s letter to Tenzin)

 I’m really  trying to deny Oedipus complex here.

Still hard for me to track Katara’s love interest for little Aang since all we see is more a relationship mom/sister or Harry/Hermione. I have heard rumours that Bryke wanted to give the ship “mystery” and “expectation” but I think they really messed up, I didn’t see expectation or mystery, I saw a child insisting to a girl that didn’t reciprocate. It wasn’t even like she didn’t have much of a chance, because her love interests:

Was killed by Long Feng

Gave him a hideous mustache and disappeared him after Azula’s attack in the western air temple.

Forced to be attached to a toxic relationship.

Apart that all those points I’ve mentioned, Kataang is not a relationship for me. Staying in a formal relationship with the first person they met of the opposite sex at 14 -12 (guys not even Disney does that, jeez not even studio Ghibli) and not having any chance to experience any other relationship. Never experiencing a broken heart, or someone better. I think that it gives the wrong idea, telling guys that no matter how long they are placed in friendzone, eventually the girl will fall for them. They just have to keep insisting.

You could say, but what a hypocrite! Snow White was 14 years old when she went to live with that prince! Many princesses are 16! And not to mention that many men were the first they met! Like Aurora, Rapunzel, and Cinderella. Well, you are right at one point. But ... the interaction of these characters changes radically, mainly because they never "give cute kisses" to their future husbands, nor do they treat them like their brothers or their children and ... the men were never friendzoned, except for Naveen at the beginning. You see the real attraction of teenage girls with an older boy. And I'm not saying that they should never be friends or support each other. Mulan and Chang were allies, friends, they supported each other, they saved their lives. But at no time was there the kind of interaction Katara and Aang had.

If Kataang was to be endgame, we would see Katara’s reaction to Jet, totally different, THAT kind of reaction was what I was waiting. (That kind of reaction is what every princess do, at least one time)

The same chemistry we saw in Yukka / Sukka. Honestly, I saw more chemistry between Haru and Katara.

Or at least give us some character development like: Aang, I know my feelings where not as you wanted but now I decided I want to be with you because (list everything here except he being the avatar), I really like you, perhaps we can give it a shot. Or like several things that could clue us that she is interested (come on people, two persons can kiss/hug/ have sex and that doesn’t imply they will be together in a formal relationship) But all we got was: Oh, right, he’s the avatar... suddenly I fell for him and I’m gonna kiss him fully in the mouth and that’s how I’ll tell him and that all my confusion has magically disappeared.

X. I’ve never saw that kind of spark between them. Again, it was “Just a hug”

Yes! That’s initially the whole point of it, a friendship hug, the truth of why we don’t need silly blushes. Because that forgiveness hug shows their initial relationship, they are friends! All their love needs to come first from a truthful friendship, by the contrary of calling the “immediate falling” like Aang did for Katara, it shows us that friendship love can evolve into something more beautiful, and that’s why we like the ship, because all zutara shippers know Zuko and Katara wouldn’t fall in love like that all of the sudden, they have to create the romantic relationship, and that’s what we portray in the fics.

What makes Zutara exceptional is that he, sees her, he hears her, he listens what she had to do, at anytime he forced her to do something she didn’t. And before a “teenager adolescence ship” he sees her as a human, with feelings with own ideals and goals.

And there is a complete and extremely well based analysis in: The crossroads of destiny + The southern raiders + The lighting saving.

XI. The comics show us how toxic they really where.

Their interaction in the comics was something I like to call: destroying a character. Not only Katara, who turned to be that awesome badass to the submissive girlfriend. From how I see it in the series to the comics there’s all I have to say: That’s not my girl.

XII. How Katara could be queen of a country that almost aniquilates her tribe and killed her mother? It would be a betrayal.

I think this argument is out. Not valid. Is like saying a Jew can’t date a German because of the holocaust. (German doesn’t mean nazi, just as Zuko, who was from the Fire Nation and didn’t order Katara’s mother assassination, and not every citizen of the fire nation means a ruthless killer). Is like saying that a Japanese can’t date a us citizen because of the bombs in WW2. And even if we see it “political”, is like… an aphrodescendant can’t rule a country that is racist, then Mr. Obama would have never reached the presidency.

Two persons can unify them, because they can demonstrate that being from different country that initally has not good terms can reach peace. The union between those countries represents the power of maturity, of overcoming adversities and the power of forgiveness. *Our lands now connected by love* And I want her to be queen, I want her to rule, I want her in charge, I want her in power. Imagine all the potential she could have (politics, business, negotiations, rebuilding, restoration, education, public health!! ***faints***) Not only for the fire Nation but for the whole world! Imagine that once Zuko abdicated they left to the south pole and she opened a fighting school and a healing school of her own (like master Pakku, but now her students are given a medical license that acknowledges them as professional healers) And this is just an idea. Like these ideas are hundreds. It would have been the perfect feminist role model!

XIII. Since the beginning, Katara was always interested in Aang and she always supported him and was for him when he needed her. That’s proof they were meant to each other.

If a girl expresses faith in your abilities, she loves you, she hugs you, and she supports you clearly she’s completely into you. Because obviously female best friends don’t exist.

[ladyfl4me]

hi i just finished amnesty and im going on AO3 (as one does) and i was like blindsighted by how much indrid/duck there was???? did i miss an episode or something???? why do so many ppl ship it? (btw im just curious / not trying to yuck anyone's yum, etc) thank you so much!

No problem, I’d be happy to answer your question! I can by no means speak for the whole Amnesty/Indruck crowd, so if anyone sees this and wants to chip in their two cents, feel free to reblog/reply to give anon some answers. These are broad statements that by no means apply to everyone/how they interacted with Indruck/Amnesty as a whole. tl;dr at the end

The short answer: people are gonna ship things. Indrid asked for Duck on the payphone, he and Duck had one (1) friendly banter-y conversation about nog, they seemed to be getting along well, and they had a potential angsty through-line about their respective experiences with seeing the future. Arc 3 came out during the 2018 holiday season, so there were many gaps between uploads to account for holidays and live shows. People wanted content to fill the void. Indrid and Duck having an interesting dynamic + people going “what if this was a thing” + gap-between-episode fever = a slew of Indruck fics hitting the AO3 presses. 

That was my experience of it. I went on AO3 when I got into Amnesty, September 2018; first fic on there I saw was Cheating the System by @duck-duck-juice, and I read that and thought the dynamic was interesting. Read everything else in the tag. Got interested. Went in the tag on Tumblr. Got sucked in. Here we are. 

The long answer for “why is this ship a thing” is way more nebulous, which is where other people can chip in their thoughts. I think a great place to start is with Indrid himself. 

Indrid Cold’s introduction to Amnesty was fucking delicious to hear in real time. He had a dramatic phone call entrance at the end of an episode. He had a slightly-unhinged but warm-hearted aesthetic and attitude. He could see the fucking future. He was directly in danger because of arc 3′s plot. He was an interesting minor character who could have used fleshing out, and the inevitable “what if this happened” crowd of speculative fans - myself included - were deeply interested in what could be done with him. He was the former court seer, which could have been an interesting way to flesh out Sylvain’s worldbuilding. His future-sight was an interesting component that could have bearing on future plot arcs (albeit in a possibly game-breaking way, which makes even more of an argument for fleshing him out to test the limits of his power in a story context - but that’s me editorializing). 

Good grief, he was cool. And people wanted more. They wanted him to be deeper. Essentially, they wanted a member of the supporting cast on par with Mama or Barclay, not a one-hit wonder who took a fist to the face, fucked off, and wasn’t seen again until after the biggest tragedy of the series (and didn’t even ADDRESS it or add any emotional depth to the story, besides a plot-based hook to hang our hopes on. I’m still bitter about that). 

One way to flesh out a character is to look at their existing relationships in canon and expand on those. Indrid talked to Duck a bit. They got along and it was sweet. That’s a relationship to expand on. And people ran that one into the end zone. And as arc 4 dragged on and got angstier, people longed for the good ol’ mysterious/exciting/Not Completely Depressing days of arc 3 and wrote more Indruck fic. 

Another place to start is with Duck. Justin’s pretty decent at making relatable characters that people like, with interesting depth and humanity to them. All that being said, one remarkable thing about Duck was that, despite his incredible depth and really interesting motivations, he wasn’t connected much to the Sylvain plot. This is more of a side effect of Indruck than a cause, but still worth mentioning. I see Duck as very connected to Kepler, which is his hometown and a place he had a job to protect. But he wasn’t very connected to Sylvain. He wasn’t in deep like Aubrey was, or even how Ned was with the Flamebright Pendant. He was just a dude with a sword and a destiny someone else gave him. Hell, he was more connected to Earth as a locus than Sylvain; plotwise, he was really just along for the ride because of his Minerva-granted destiny. Shipping him with a character connected to Sylvain brought him into the narrative that the Pine Guard lived in a bit more, and that was fun to explore.

Ultimately, though, folks just thought it was neat. Some people were interested in the potential emotional connection. Some people I know crushed on Indrid and projected onto Duck to actualize that, or vice versa. Some people were curious about how this trend could coexist with Amnesty canon, and incorporated the ship as a side-arc of larger narratives. Some people were just here to have a good time. Regardless, Indruck seemed to come out of nowhere and took over the place, to the chagrin and annoyance of many, but to the enjoyment of many more. 

tl;dr: their brief interactions in arc 3 + a dearth of canon content at the time + the old fandom trend of “people will really ship anything” + content creators with itchy fingers and spare time = Indruck being everywhere. 

I hope this answers some of your questions! If anyone else wants to chip in, please do!

[terramythos]

TerraMythos' 2020 Reading Challenge - Book 29 of 26

Title: The House in the Cerulean Sea (2020)

Author: TJ Klune

Genre/Tags: Fantasy, Comedy, Romance, Found Family, LGBT Protagonist, Third-Person 

Rating: 10/10

Date Began: 10/13/2020

Date Finished: 10/18/2020

Linus Baker, a forty-year-old caseworker for the Department in Charge of Magical Youth (DICOMY), lives a solitary and mundane life. But when he’s summoned by Extremely Upper Management and given a top-secret case, everything changes. Linus is sent to the classified Marsyas Island and tasked with investigating an orphanage housing six dangerous magical children-- including the Antichrist. He is to live among the residents for one month, record his observations, and report back to the organization. No more, no less. 

The master of the house, Arthur Parnassus, is a mysterious and enigmatic man. But Linus soon learns that Arthur will do anything to protect his wards. As Linus grows closer to Arthur and the children, a secret from the past and prejudice of the present threaten to destroy the orphanage and their way of life. Linus must decide if he can abandon the world he knows in order to help the ones that need it the most. 

"Fire and ash!” Lucy bellowed as he paced back and forth. “Death and destruction! I, the harbinger of calamity will bring pestilence and plague to the people of this world. The blood of the innocents will sustain me, and you will all fall to your knees in benediction as I am your god.” 

He bowed. 

The children and Mr. Parnassus clapped politely. Theodore chirped and spun in a circle. 

Linus gaped. 

“That was a lovely story, Lucy,” Mr. Parnassus said. “I especially liked your use of metaphors. Keep in mind that pestilence and plague are technically the same thing, so it did get a little repetitious at the end, but other than that, quite impressive. Well done.” 

Minor spoilers and content warning(s) under the cut. 

Content warnings for the book: Semi-detailed discussions of child abuse and trauma. Internalized fatphobia (challenged). Structural discrimination, and hatred/prejudice associated with that, some of it internalized. 

I'm going to have a hard time reviewing this book, because it was so goddamn good I don’t think I’ll do it justice in a few short paragraphs. So here’s the fast version: The House in the Cerulean Sea was a fucking delight to read from the first page. It’s full of genuine humor, magic, and charm, while being just this side of heart-wrenching. Though geared toward adults, it’s the first novel I’ve read in a long time that captures that childlike enthusiasm I used to have when reading a good fantasy book. It takes place in a world with magic (obviously), but it’s 98% character-driven. Both the main plot and the (queer!) romantic subplot are woven together so well that neither feel tacked on or lacking. The found family hit me in the emotions again and again and again. I read books out loud, and I spent the last third of this book struggling because I kept fucking crying and having to take regular breaks before continuing. And then I went through the whole book to find a good quote for this review and ended up fucking crying again. So yeah. 

Ok. Got that off my chest. Usually in these reviews I talk about what I liked and then what didn't work for me or confused me. The good news (?) is I have zero complaints or critiques on this one. So you just get to hear me gushing about it for a while.  

Since this is a character-driven book that’s where I’ll start. Linus Baker, the protagonist, is great. Let me just say I love speculative fiction books starring older characters. At forty, Linus isn’t old, but it feels like the majority of spec fic stars people under thirty. Linus is also a conspicuously ordinary guy; prim and proper to a fault, no magic, oblivious in many ways (including to his own loneliness), but with a hidden sense of justice and protectiveness for people that comes out more and more. His development over the course of the novel and how much he grows to love and care for the other characters is just so good. The writing draws attention to this through repeated phrases and jokes one doesn’t expect to make a comeback (more on that later). Seeing him come out of his shell and stand up for what’s right is cathartic as hell. As a side note, it’s also nice to have a fat protagonist who struggles with his self-image but gets warm affirmation and support from his family and love interest. 

Arthur Parnassus, the deuteragonist and said love interest, is more of an enigma. A lot of his motivation and behavior makes sense once you get his Tragic Backstory (TM), and I think this will be a fun book to reread based on that. I picked up on some of it before the reveal, but not everything. But without spoiling it, I do love seeing an older (mid-forties) father figure who would do literally anything to make sure the children on the island have the care and love they need. Seeing his patient love and acceptance of them tugs my heartstrings. Maybe I’m a bit of a sap. Linus and Arthur’s obvious mutual crush on each other is also really cute, okay. There’s something about older queer people finding love that makes me smile. 

And the children are great too, of course. I really liked each of them and thought they were all unique and interesting. My favorites are probably Lucy the six-year-old Antichrist, Sal the were-Pomeranian (his arc just really hit home for me), and Talia the gnome. They all have such distinct and fun personalities, and seeing them interact is great and often hilarious. I’m not very paternal, but I love seeing children with sad/abusive pasts blossom into their best selves with love, guidance, and support. It’s uh, a little personal. I’d be remiss not to mention Zoe, the resident island sprite, who brings a whole lot of personality and rounds off the group. 

When I say the story is character-driven, I mean it. While a fantasy novel, there’s not any significant violence or action in the story (except for maybe one scene if you squint). The House in the Cerulean Sea is carried by its characters, interactions, and worldbuilding. The humor and inherent charm helps too -- and manages to do so without ever feeling trite. I can’t help but admire that. I was never bored; I honestly enjoyed every page because I liked the characters so much. Not to say there isn’t an overarching conflict with the whole DICOMY thing, but most of the focus is Linus struggling and coming to terms with his discoveries-- about the others and himself, and how he can make a difference on a grand scale. To me that kind of stuff is captivating. And boy does seeing someone find the place they belong get me. As I said, found family is a big thing in this book. 

Aside from that, the writing is just super; it literally had me laughing from the first page. I can’t believe the fucking lemur joke came back at the end, too. But on that subject, I love that this book utilizes recurring jokes and phrases to show Linus’ character development. In particular, “see something, say something” and “don’t you wish you were here?” have VERY specific meanings to Linus at the beginning of the story, and over time transform into the polar opposite. I’m  holding myself back because I don’t want to spoil shit, but if you read it you’ll see what I mean. There’s also a lot of meaningful callbacks to certain dialogue earlier in the story and I eat that kind of stuff up. But even small details, like the early quip about Linus forgetting his umbrella, come back to deliver an emotional gutpunch near the end. So thanks for that, Mr. Klune. 

The book really takes a turn in the second half of the story, which is a tad darker. Avoiding the Actual Spoilers, this is where prejudice and hatred of the outside world become a bigger part of the story. We learn what’s really at stake, and that this wonderful found family in the first half is threatened by a world that hates and fears them. Boy does that shit get emotional REAL quick. Yes the allegory is obvious. No, that’s not a bad thing. Ultimately, The House in the Cerulean Sea becomes a story about love, hope, and change; and boy does that shit strike my gay little heart right where it hurts. 

If you’re looking for a (literal) magical pick-me-up (ignore my comment about crying a whole lot) with INTENSE found family vibes and a side helping of queer mlm romance, dear God read The House in the Cerulean Sea. I don’t think I did it justice in this review; just trust me, it’s real good. My only complaint is that it ends; I want more, damn it! 

[wolfandwild]

My Shadowlands Wish List

Now that we’re getting closer and closer to pre-patch and the inevitable launch of the expansion, I thought I’d rattle off a wish list of things I hope we get to see in Shadowlands, largely from a lore/story perspective. (Or rather, my stupid foot was hurting so badly I couldn’t concentrate on writing my fic properly, so I decided to ramble off some not-so-hot takes, honestly they’re pretty mild in the grand scheme of things). I was in the first alpha wave, so I’ve had a pretty good opportunity to play the game as it is thus far, and I did want to make it clear up front that I’m fully aboard the hype train. Shadowlands is looking like a great expansion for a number of different reasons, and while I do have a few areas of concern, on the whole I am currently feeling very positive. Please also note these are just my random, late-night personal musings - your mileage may vary, and that’s a-okay.  Mild Shadowlands spoilers below the cut.

You Get A Customisation! You Get A Customisation! Everybody Gets A Customisation! This one is pretty much a no-brainer. I don’t necessarily think Blizzard need to have absolutely every possible character customisation ready to go before launch, but I’d like them to continue adding further options over time. I move in a couple of different circles in Warcraft - I’m obviously involved in the writing/lore/character aspect of the game, but I’m also GM of a raiding guild and closely follow the gameplay/competitive side of things too - and customisation is one of those few things that gets everyone excited, regardless of their reason for playing the game. I’m looking forward to seeing a much more vibrant, unique and diverse Azeroth come Shadowlands pre-patch. (Mostly irrelevant side story - when Wrathion returned in the Patch 8.3 cinematics, my Twitter and lore Discords were basically going berserk with excitement, meanwhile there’s a hundred very confused dudes in my raiding guild who don’t read quest text being all, “What the hell is a ‘Wrathion’?”. I live in two different worlds, honestly). Another reason I’m excited about customisation (and I’m probably in a very small minority on this one) is because I actually really dislike allied races, and I think it gives Blizzard an option to add more flavour to character creation in the game without always having to cobble together a new race. I honestly think they should have simply gone for sub-race customisation from the beginning, to avoid having to ass-pull allied races out of nowhere. Using customisation over allied races also makes it far simpler to give something to both factions (e.g. high elves), or to add something for one faction without necessarily having to always add something to the other faction to keep things in balance. Giving an extra hairstyle to humans but not orcs generally isn’t going to cause that much of a fuss, but if one faction were given an allied race and the other wasn’t because there wasn’t a logical racial option, there would be a shitstorm of epic proportions. So you end up in a situation where one faction* gets saddled with a really random, sucky allied race just to be ‘fair’. *The Alliance. It’s the Alliance. Leave Britney Arthas Alone Arthas has never been a personal favourite of mine, but I respect that he has a fantastic story, and that he’s a cornerstone of Warcraft lore. His story is both satisfying and complete, and that’s exactly why they should leave him the hell alone. I don’t mind if he’s visited in flashbacks (like the Bastion cinematic), or if we explore how he affected still living characters (e.g. Jaina, Sylvanas, Bolvar), but I think it would be a mistake to try to make him a central character in the expansion. In contrast, someone like Kael’thas is an excellent choice for an additional arc, because his original story was a bit all over the place and there is still plenty of room for his character development. Arthas doesn’t need it, and I don’t think the minute potential gain is worth the risk of retroactively making the rest of his story worse. On a similar note... Warcraft III Was Released Nearly 20 Years Ago, It’s Time to Move On The Warcraft RTS was a landmark series of games, and was obviously without them we wouldn’t have the World of Warcraft. However, I think the future health of Warcraft’s lore depends on the ability of the writers to grow the story outwards and upwards, not to always default back to the same handful of characters for nostalgia’s sake. While characters like Jaina, and Thrall, and Sylvanas are great, they can’t carry the narrative forever. Shadowlands represents a unique opportunity to build up the next generation of characters and to blow the cosmology of the universe wide open. From what I’ve seen on the alpha/beta, Blizzard are definitely taking a step in this direction, and I’m hoping that’s what we get instead of Patch 9.2 - Oh Look, It’s Thrall Again. On an additionally similar note... Sylvanas Is Crazy, And She Needs To Go Down (I don’t actually think she’s crazy, but one should never miss the opportunity for an Avatar reference). One of my complaints about the recent lore developments in Warcraft its that it’s starting to feel a lot less like the World of Warcraft, and more like the Sylvanas of Warcraft. She’s playing 469D chess; she’s behind everything; she’s the sole driving force of the narrative. I don’t think that works in an MMO that’s meant to tell the story of an entire expanded universe. It makes things feel small. And before I get eaten alive, I want to be clear that I don’t dislike Sylvanas as a character - in fact, I think she’s very compelling and on a night when my foot wasn’t killing me so much I’d be happy to get into an argument as to why she’s actually one of the most consistent and well-written characters in the World of Warcraft. I don’t necessarily think she needs to die, either, but I think it’s time for her narrative to come to a close to make room for other characters in the story, and I don’t think Blizzard are going to get a much better opportunity to give her a satisfying ending than in a death-themed expansion. Justice for Tyrande (Or Vengeance, Whatever Uther Wants to Call It) Tyrande got done dirty in Battle for Azeroth, probably more than any other character. I’m not a massive night elf fangirl by any means, but their entire race was basically used as grist for the mill in Sad Orc Dad’s story, with no next to no narrative follow-up besides a cool cinematic that went absolutely nowhere in game. Outside the game, her character then got subjected to the cacophonous misogynistic crowing of the fanbase that occurs whenever a female character dares to be angry in the World of Warcraft. Much like Jaina, she’s decried for being ‘crazy’ or ‘irrational’ for, you know, being pissed that her people and her homeland were wiped out in an act of wildly disproportional aggression. I don’t know about you guys, but that would tend to make me a wee bit testy, but maybe I’m crazy and irrational too. In any case, I want to see her go off in Shadowlands. Fuck ‘em up, girlfriend. You Get One Villain. If You Drop It, I’m Not Buying You Another One I think most people will agree with me that the two weakest expansions (at least from a narrative perspective) were Warlords of Draenor and Battle for Azeroth. There are a few reasons for this, but for me one of the biggest issues was that they were chop-and-change expansions. Both were advertised and started off with narratives and themes that were wildly different from where they finished up. Warlords was part Iron Horde expansion, part Legion expansion; BFA was part faction war expansion, part Old God expansion... and that’s exactly the problem. Both times, I felt like we got two half-done expansions, instead of one single, cohesive narrative experience.  If you look at expansions like Wrath of the Lich King and Legion, both of which were very well received, a lot of their success hinges on their presentation of a consistent narrative with a clear goal for players within the story. The Lich King, for example, was a consistent and very present villain. He menaced you throughout your entire journey, and so his eventual defeat on top of Icecrown Citadel was meaningful and impactful. Defeating N’Zoth, by contrast, felt pretty hollow, as we hadn’t had enough narrative build up to really care about taking him down. Part of the reason I’m excited for Shadowlands is it looks like we’re getting a nice, focused story development that builds up to a logical and satisfying villain in the Jailer. Why Can’t We Be Friends? Look, I bleed blue. I love the Alliance... but the faction war should not continue to be a driving narrative element in the World of Warcraft. I don’t want the factions to be removed, I think they’re a core part of the Warcraft experience and I’d be pretty sad to have to let them go entirely, but the cycle of hating one another then teaming up in an uneasy alliance in order to defeat a bigger bad, only to go back to being at one another’s throats the next day is... tiresome.

Ideally, the war would have ended after Legion - it was the most logical place to do so, and I think it was a big missed opportunity that they ran with Battle for Azeroth immediately afterwards. Unfortunately, I think this means the Alliance is going to just have to forgive and forget, which doesn’t really make a lot sense at this point given everything that happened in BFA, but for the sake of the overall story, it might be a necessary sacrifice. That said... I Am Once Again Asking for Alliance Narrative Agency I know there are a lot of (valid) complaints to be had about the Horde storyline, but the one thing the Horde has always had over the Alliance is that they actually get to drive the narrative forward. The Alliance are pretty much exclusively reactionary, and in a lot of ways are side characters to the main Horde storyline. I’ve made this argument elsewhere, but it honestly wouldn’t be too hard to remove Anduin’s part in Saurfang’s storyline in Battle for Azeroth and have it turn out more or less exactly the same way... which says a lot about the importance of the Alliance in the overall storyline. In short, the Alliance are secondary players at best, and downright irrelevant at worst. One of my biggest hopes for Shadowlands is that we’ll actually get to see some Alliance narrative agency. To be clear, however, this does not mean a simple rehashing of Horde conflicts with a blue coat of paint. Alliance stories are not Horde stories, and nor should they be. Having an Alliance leader turn into a genocidal despot is not the only way to create conflict or agency in the story - there are plenty of opportunities for character growth, development and conflict on the Alliance side without having to have one of our leaders do a heel turn (e.g. Tyrande as the Night Warrior, Anduin dealing with his experience in the Maw, Jaina confronting the fates of people like Kael’thas and Arthas, Taelia meeting her father, etc.), and I really hope we get to see some of those narrative threads come to fruition. I Want to Mount Everything Add a hundred new mounts. Two hundred. A pot plant with googly eyes, the four hundredth Alliance horse, your mum. I’ll ride anything; I don’t even care. (Please note this is the most important opinion I have).

[kendrixtermina]

Further reactions to "The book of lost tales":

I appreciate that Idril canonically wears armor and does swordfighting.

I feel like I can actually imagine adult!Idril much better now like in armor and with open hair, distraught but ready to fight while babby Earendil does not yet realize the danger...

My first thought is that Earendil was probably cute in that baby chainmail. My second thought is OUCH, Idril and Tuor always made sure their growing baby had fitting chainmail cause they felt the apocalypse might get them at any moment. Imagine that, imagine them having the baby armor fitted every year or so :(

Its fun how much of the basic structure already exists but most of what you'd consider the main characters doesn't exist or is scattered across various minor roles The only Prince anywhere in sight is Turgon - Except for Team Doriath, theyre all accounted for. I suppose Maeglin is kinda there in name only with vaguely the same role & motivation, but looks personality and background all did a 180 since. Luthien is still pretty much "princesd classic" at this point, not quite the fearless go-getter from the final version - markedly this version tells Beren that she doesnt want to wander in the wilderness with him whereas the final one says she doesnt care and its Beren still wants to get the shiny so as not to ask this of her and also for his honor.

I mean in the finished version Id consider the 3rd and 4th gen royals to be the main characters (well, alobgside Team Doriath and the varioud human heroes) and theyre hardly here. Imagine the silm with no Finrod!

Feanor had no affiliation with the royal family whatsoever, and is also generally less super. He's just the guy who won the jewelsmithing competition, not the inventor of the whole discipline. Still seems to have been envisionad as a respected member of the community who gets called to the palace for crisis meetings and is listened to when he stsrts giving speeches. From the first he already has the backstory of going off the deep end (or at least growing disillusioned with Valinor) after a family member is killed by Melkor and theyre still the first to die, but its just some other rando unrelated to the royals

The situation regarding the humans is different - instead of Melkor leaking their existence, its Manwe who explains that the other continents were supposed to be for them eventually. So Feanor goes off on a tirade about weak puny mortals comes off as a more of a jerk unlike in the final version where Melkor barely knew about the humans and described them to the Noldor as a threat. On the other hand in this one, also very much unlike in the finished product, Melkor dupes even Manwe into being unfair to the elves as a whole. In this the final version is a definite improvement, both Feanor and the Valar come off as a lot more sympathetic and though still deceived he's partially right in some things at least, so you have more of a genuine tragedy rather than a simple feud

There is something to the idea of Commoner!Feanor tho. I guess some of this survived in his nomadic explorer lifestyle and how both his wife and mother (who arent mentioned here) eventually were the ones to get that background of being not especially pretty ladies who are not from the nobility but got renown, respect and acclaim for their unique talent and contribution to society, with each having invented things and Nerdanel also being renowed for her wisdom. Hes sort of an odysseus-like Figure in that sense. I suppose later developements necesitated that Maedhros & co. have an army not just a band of thieves, which means they needed to be nobles/lords. That said this being a society where artisans are very respected and half the lords have scholarly/artistic pursuits going, the gap was probably not as big to begin with as it might have been in say, medieval England. Esoecially since Nerdanel's father had been given special honor by one of the local deities and that the social order might have been a very recent thing in Miriel's time. One might speculate that the first generation of Lords started out as warriors during the great journey, or perhaps just Finwe's friend group.

Also found that bit intetesting where the Valar have to deal with the remaining political tensions and effects of Melkor's lies on the remaining population in Valinor... - i guess with the change of framing device it was less likely for news of something like this to reach Beleriand. That, or the existence of Finarfin and his repentance made this go smoother this over in later cannon

Turgon's go-down-with-the-ship moment reaaly got to me. Im half tempted to write a fic where his wife, siblings and dad glomp him on arrival in Mandos. I dont care that none of them exists yet in this continuity i want Turgon to get hugs

I love all the additional Detail that got compressed out in the shift from fairytale-ish to pseudohistoric style especially all the various Valinor magic insofofar as it is compatible with the final version - particularly love the idea of the connection between the lamps and the trees that is now integrated into my headcanon forever

Its actually explained what the doors of night are

If I had not already read unfinished tales or volumes X to XII where this is also apparent, this is where I would say: Ah so the Valar were supposed to be flawed characters. Manwe has an actual arc; by the time he sends Gandalf he finally "got" it. I think in the published silm the little arcs of Ulmo and Manwe are mostly just lost in compression/ less apparent when only some of the relevant scenes got in but not all

It occurred to me way too late that the "BG" chars are the most consistent because theyre at the start and most stories are written from beginning to end. Finwe doesnt get a dedicated paragraph of explicit description until HoME X but my takeaway was that he's described pretty much like I always imagined him anyways/ same vibe I always got from him... charismatic, thoughtful, enthusiastic, sanguine temperament, brave in a pinch but at times lets his judgement be clouded by personal sentiment (though that last bit is more apparent/salient as a character flaw once he became the father of a certain Problem Child) ...i guess this would be a result of jrrt having had a consistent idea of him in his head for a long time.

This means Finwe's still alive at the time of the exodus which is just fun to see/interesting to know... Interestingly he sort of gets what later would be Finarfin's part of ineffectually telling everxone to please chill and think it over first while Feanor simply shouts louder (which is consistent with his actions before the sword incident in later canon where he initially spoke out against the suspiciozs regarding the Valar) - but its not exactly the same, he's more active than Finarfin later in that when "chillax" availed nothing he said that then at least they should talk with the other Kings and Manwe to leave with their blessing and get help leaving (This seems like it would have been the clusterfuck preventing million dollar suggestion in the universe where Feanor is related to him and values him) but when even that falls on death ears he decides that he "would not be parted from his people" and went to run the preparations. I find it interesting that the motivation is sentiment/attachment (even phrased as "he would not be parted from [his people]" same words/ expression as is later used for the formenos situation), not explicitly obligation as it later is for Fingolfin (who had promised to follow Feanor and didnt want to leave his subjects at the mercy of Feanor's recklessness )

Speaking of problem children. It seems the sons of Feanor were the Kaworu Nagisa of the Silmarillion in that originally all they do is show up at some point and kill Dior as an episodic villain-of-the-week. And then, it seems their role got bigger in each continuity/rewrite... probably has something to do with the Silmarils ending up in the title later making it in the sense their story that ends and begins with them. They have zero characterization beyond "fierce and wild" at this point, though in what teetsy bits there is we already have the idea that Maedhros is the leader and Curufin is the smart one/shemer/sweet-talker, though not the bit where Maedhros (or Maglor, or anyone really) is "the nice one". Which I guess explains why "Maglor" sounds like such a stereotypical villain name.

"The Ruin of Doriath" was purportedly the patchworkiest bit of the finished product, but I never noticed and it actually left quite an impression of me upon first reading, the visual of Melian sitting there with Thingol's corpse in her arms contemplating everything thinking back to how they met... she had the knowledge to warn him not to doom himself but couldnt get him to understand it because he doesnt see the world as she does.... After reading this though I wish there was a 'dynamic' rendition that combined all the best bits like, youd have to adapt it to the later canon's rendition of the dwarves, have Nargothrond exist etc. But i mean that just makes Finrod another dead/doomed relative of Thingol's whom bling cannot truly replace, like Luthien and Turin. In the Silmarillion you could easily read it as just an "honoured guest treatment" but here and in unfinished tales I get the impression that Thingol actually did see Turin as a son.

Already you see the idea of trying to make the stories all interconnected but there is less than there will be (the human heroes aren't related yet and there is basically no Nargothrond, which is later a common thread for many of the stories - a prototype shows up in the 'Tale of Turambar' tho complete with half baked prototypes of Orodreth and Finduillas

O boi im not even through yet